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CREDITS PUBLISHER Street Press Australia Pty Ltd GROUP MANAGING EDITOR Andrew Mast EDITOR Kris Swales EDITORIAL ASSISTANT Amber McCormick ARTS EDITOR Daniel Crichton-Rouse LURE EDITOR Rupert Noffs SENIOR CONTRIBUTORS Cyclone, Daniel Sanders CONTRIBUTORS 5sprocket, Alice Tynan, Andrew Wowk, Angus Paterson, Anita Connors, Baz McAlister, Ben Kumar, Blaze, Brad Swob, Bryget Chrisfield, Carlin Beattie, Chloe Scardina, Clare Dickins, Darren Collins, Darryn King, Dave Dri, Dave Jory, DJ Stiffy, Gloria Lewis, Graham Cordery, Guy Davis, Holly Hutchinson, Huwston, Jane Stabler, JC Esteller, Jean Poole, Jeremy Wood, Josh Wheatley, Komi Sellathurai, Lawrence Daylie, Lee ‘Grumpy’ Bemrose, L-Fresh, Liz Galinovic, Luke McKinnon, Matt O’Neill, Matthew Hogan, Matt Unicomb, Melissa West, Monica Connors, Nina Bertok, Nic Toupee, NHJ, Obliveus, Paz, Richie Meldrum, Rip Nicholson, Ritual, Robbie Lowe, Roo, Russ Macumber, Ryan Lungu, Sasha Perera, Scott Henderson, Steve Duck, Stuart Evans, Tash Fraser, Tim Finney

Corey Brand, Cybele Malinowski, Daniel Munns, Dave Dri, Kane Hibberd, Kostas Korsovitis, Luke Eaton, Monique Easton, Philip Poyner, Terry Soo ADVERTISING DEPT NSW – Brett Dayman, Jason Spiller VIC – Katie Owen, Sarah Blaby QLD – Adam Reilly, Melissa Tickle




ART DEPT artwork@3dworld. Dave Harvey, Samantha Smith, Stuart Teague, Josh Penno COVER DESIGN Stuart Teague


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CLASSIFIEDS ACCOUNTS DEPT accounts@3dworld. (03) 9421 4499 PRINTING Rural Press (02) 4570 4444 DISTRIBUTION distro@3dworld. SUBSCRIPTIONS Subscriptions are $2.20 per week (Minimum of 12 weeks). ADDRESS 2 Bond St, Abbotsford, VIC 3067 PO Box 1079, Richmond North, VIC 3121 Phone (03) 9421 4499 Fax (03) 9421 1011 Email info@3dworld.

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SUSHI SNAPS 1 Be @ Co. 2 Eurotrash 3 Khokolat Koated @ Khokolat Bar


4 Rhythm-al-ism @ Fusion 5 Saturday @ Syn Bar 6 Saturdays @ The Loft



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Tens of thousands of Americans marched in Washington’s Rally To Restore Sanity at the behest of media satirists Jon Stewart and Stephen Colbert. The Roots played and a ‘we’re sick of minority politics’ point was made. If it fails, at least they had a laugh.


Paul Weller brought his heavy soul st ylings to the Forum and even dropped Shout To The Top for the Style Council fact ion of fans. And yes, there were scooters parked outside.


The RocKwiz revamp of the ARIA Hall Of Fame worked despite Short Stack massacring Cara-Lyn. Steve Kilbey’s history-of-Oz-rock in 15 minutes was the highlight, closely followed by Models putting some synths into the proceedings.


The Glee cast do Rocky Horror. Cross-dressing and camping it up on Glee! Didn’t see that coming.


So, ummm, actor Randy Quaid is seeking asylum in Canada to escape the “star whackers” killing those he’s appeared in moves with (Heath Ledger, Chris Penn and such). Or is it an art project inspired by Joaquin Phoenix?


The weekend’s rain may have kyboshed horseracing binge-vomiting but it also left nearly all of Melbourne leaking. Moist enough for ya?

IF YOUR WALLET is copping a preChristmas pounding, you’ll be stoked to hear that Future Entertainment have introduced a Book Now, Pay Later scheme in conjunction with Ticketmaster for next year’s Future Music Festival. Tickets are flying out the door so don’t miss out… IN OTHER FESTIVAL news, Good Vibrations Festival have confirmed there’ll be no sideshows for the 2011 event, so you’d best snap up a ticket if you want to see Faithless, Sasha, Erykah Badu, Cee Lo Green and many more do their thing next February… EMO POP SISTERS The Veronicas’ new ad campaign for animal rights group PETA where they hold up skinned animals really is the st uff of nightmares. But fortunately the shock value is all for a good cause. PETA has also offered to pay for Lindsay Lohan’s rehab program if she agrees to become a vegan. We didn’t think she ate meat anyway… IT’S A SUMMER of celebration for Aussie indie label Remote Control, with 20 of their international artists (including MIA, Friendly Fires and Gotan Project) in the country as they raise a glass to ten years of distributing fine underground music… SYDNEY HIP HOP duo Spit Syndicate have teamed up with DJ Joyride to produce a new track titled Memories Of Now. The track is available for free downlowd via Soundcloud, and will also feature in their upcoming Wildside national tour with The Tongue later this month...



Simon Posford and Raja Ram have ventured down under in various guises over the years – both as solo DJs or performing live under the Hallucinogen moniker in the case of Posford – but their revered psychedelic world music jam band Shpongle have never appeared here in all of their live glory. That is all set to change in the early days of 2011 when Posford and Ram bring their ten-piece ensemble not just to Aust ralia for the fi rst time, but for their fi rst performances south of the equator! With an as-yet-untitled fi fth album set to surface in 2012, you can expect some fresh material to get an airing alongside classics off albums from throughout their decorated 14 year history. They play The Forum Theatre (Melbourne) Friday 14 January and Enmore Theatre (Sydney) Saturday 15 – tickets are on sale now via www. shpongleaust Proudly presented by Street Press Aust ralia. AKON


As if Summerbeatz didn’t already have music fans of the urban persuasion in a serious lather, a couple of additions to the line-up should sweeten the deal. The fi rst of these is Akon – last seen here for Supafest in late 2009 – whose ubiquitous Sexy Bitch collaboration with David Guetta is one of the biggest club bangers of recent times. Next up is Ciara, the Atlanta-based starlet who exploded onto the scene in 2004 with Goodies and has kept her flame burning bright with tracks like And I – she’ll no doubt unleash tracks from her January 2011 release Basic Instinct as well. They join Flo Rida, Jay Sean, Soulja Boy, Travie McCoy, Stan Walker and DJ Nino Brown when Summerbeatz 2010 rolls through Brisbane Entertainment Centre Friday 19 November, Acer Arena (Sydney) Saturday 20 November and Rod Laver Arena (Melbourne) Thursday 25 November. Melbourne fans should note that Akon will not be appearing there by the decree of venue management. DJ HARVEY


Disco and house fans nationwide were beside themselves with joy when US DJ icons DJ Harvey and DJ Garth were announced for the 20th anniversary of the Meredith Music Fest ival, but when tickets for that sold out in their usual snappy fashion those smiles were turned upside down. The good news is that sideshows have been announced, and everyone is invited to the party! Besides the Meredith Music Fest ival on Saturday 11 December, Picnic Touring will be taking the d-floor rocking duo to Barsoma (Brisbane) Friday 17 December, The Toff In Town (Melbourne) to help 2010 click over to 2011 on Friday 31 December and also doing their thing at an unspecified Sydney location Saturday 15 January. Watch this space for updates of course!







GENERAL OUTLOOK Expressing yourself through dance is a great way to look like a total arsehole. Can’t you just sit st ill for a while? AQUARIUS (20 JAN TO 18 FEB) Watching re-runs of Mad About You will only get you so far in life. You really need to put pants on and write a CV. PISCES (19 FEB TO 20 MAR) Settling in for a week of softcore erotica should feel like easing into a warm bath. So st rip off and enjoy. ARIES (21 MAR TO 20 APR) You will receive a parking ticket every day this week. Your frust ration will end in a massive food fight at Town Hall. TAURUS (21 APR TO 20 MAY) The evil man you’ve been dreaming of will appear at your front door this week, holding flowers and his own genitals. GEMINI (21 MAY TO 20 JUN) Respond to your emails as soon as you receive them. Otherwise you will miss a major opportunity to suffer identity theft. CANCER (21 JUN TO 21 JUL) The glee club you belong to will come to the attention of the police and numerous parent groups. Resign immediately. LEO (22 JUL TO 21 AUG) It may be time to reconsider your singing career. Have you ever considered being a fluffer on porno sets? VIRGO (22 AUG TO 21 SEP) Buying expensive magazines just because they have a free gift is a false economy. The gift is always crappy. LIBRA (22 SEP TO 22 OCT) You’ve been dressing like an ast ronaut for days now and it’s getting you nowhere. Do you have any other cost umes? SCORPIO (23 OCT TO 21 NOV) Does a movie have to be in English, full colour, surround sound and 3D before you can enjoy it? You’re a cretin. SAGITTARIUS (22 NOV TO 20 DEC) No one is returning your calls. That’s because your phone has been cut off. Contact a financial advisor immediately. CAPRICORN (21 DEC TO 19 JAN) Falling asleep in the st udio audience at The Footy Show is a great way to get beaten up and mugged. Don’t do it.

AS IF THEIR quest ionable new single wasn’t bad enough, the Black Eyed Peas are also in a spot of legal trouble – being sued for copyright infringement for their hit I Gotta Feeling by Texas songwriter Bryan Pringle’s who cites similarity to his own song Take A Dive… STRUGGLING TO GET 40 winks? Insomniacs throw away those nast y sleeping pills! A survey by Travelodge Hotels has revealed the top ten music acts that put people sleep. Coldplay, Michael Buble and Snow Patrol were ranked highest. Who’d have thunk it… YOU MIGHT NEVER get to guest program an episode of Rage, but contributing to the Rage Fifty episode is the next best thing. To help decide the year’s 50 most popular videos to air on Christ mas Day, cast your vote at from Saturday 13 November. And make it count... KING OF THE mash-up Greg Gillis – aka Girl Talk – has been hard at work on a new album which should be out by the end of the year. According to the man himself, the hour long release will feature samples from Soulja Boy, Nicki Minaj, Fugazi, Aphex Twin and Rick Ross. Girl Talk has promised a dynamic and “complicated” album so keep your ears peeled... POLO FANS WHO don’t mind a bit of travel take note. The exotic locale of Broome in WA will host the Paspaley Beach Polo fest ival on 14-15 May 2011. Don’t pretend you don’t care now…


With some of last year’s teething problems quietly rect ified behind the scenes, Space Ibiza returns to Sydney on New Year’s Day 2011 with a line-up much more in line with the Iberian superclub from which it takes its name. And the headline act should be anough to draw a gasp from anyone with their finger on the elect ronic music pulse, ANDY C with none other than house music legend Francois K (famed for his work in New York City’s fledgling 1970s disco scene and current Deep Space Monday night residency at Cielo) topping the bill. He’s joined by Sébast ien Léger, Darren Emerson, Dave Seaman, Nick Curly and Camilo Franco on the house and techno tip, while drum’n’bass fans will be treated to an epic Bass Drop stage (presented by 3D World) featuring Andy C, High Contrast , Netsky and Break. Saturday 1 January is the date, and the Enteratinment Quarter’s Showring, Coachbay and The Forum will all be in use on the day.


The quirky pop of Brits Metronomy has always gone over well in Aust ralian, local fans lapping up their “elliptical, insidious, multi-coloured and richly textured art-pop”. Their love for IDM pioneers like Autechre, METRONOMY LFO and Aphex Twin manifests itself in a rocking live show courtesy of Joseph Mount and his cohorts Anna Prior, Oscar Cash and Gbenga Adekekan, the sounds of lauded second album Nights Out coming to life in the live arena. With new material to showcase, Metronomy hit Oz in November, starting at Harbourlife (Sydney) Saturday 20 November, Oxford Art Factory (Sydney) Tuesday 23 with support from World’s End Press and Olugbenga Metronomy DJ set, Prince Bandroom (Melbourne) Thursday 25 with World’s End Press and Magic Silver White and Woodland (Brisbane) Saturday 27. The planned Gold Coast edition of Harbourlife has been cancelled.


It’s been a busy year for Melburnian Ben Plant and his now four-piece incarnation of Miami Horror. Not only did they finally unveil their MIAMI HORROR long overdue Illumination to most ly positive feedback, but they spent quite some time on the road touring it – not just in Oz (with a rousing set at Splendour In The Grass a highlight) but the USA and South America as well. With a new video for new single Holidays (featuring a lead character who looks suspiciously like Futurama’s Zoidberg) recently revealed, the band are embarking on a tour of the same name, bringing the celebratory spirit of no work commitments to Beach Road Hotel (Sydney) Thursday 11 November, The Globe Theatre (Brisbane) Thursday 18 December and The Espy (Melbourne) Wednesday 24 December. Tickets are on sale now.


Hip hop and Casio rock is an unlikely genre collision, but it’s one that Sydney hip hoppers The Phonies lay claim to. They certainly don’t take things too seriously if their new single and tour name are any indication, with Douche Bag an “Outkast meets Offspring pop rap anthem”. Their November tour kicks off at The Soundlounge (Gold Coast) Friday 5 November and Great Northern Hotel (Byron Bay) Saturday 6 before hitting Lock N Load THE PHONIES (Brisbane) Sunday 7, The Shire (Brisbane) Monday 8, Newtown Fest ival (Sydney) Sunday 14, Purple Sneakers at Miss Libertine (Melbourne) Friday 19 and again at Miss Libs Sunday 21, The Joynt (Brisbane) Friday 26 November, The Brewery (Byron) Saturday 27, and finally Katoomba’s Baroque Friday 3 December.






CALENDAR NOVEMBER MUSCLES – Thursday 4 , Eureka ILLY, SKRYPTCHA, 360 – Friday 5, The Hi-Fi MUSCLES – Friday 5, Prince WORLD’S END PRESS – Friday 5, Northcote Social Club JASON DERÜLO – Friday 5, Festival Hall DJ VADIM, DJ SARAH LOVE – Friday 5, The Espy BLOW YOUR OWN WAY: FUNK D’VOID – Saturday 6, New Guernica JASON DERÜLO – Saturday 6, Festival Hall SUPERDISCO: LOUIS LA ROCHE – Saturday 6, Prince WAX MUSEUM JAM: MEXI, LOTEK – Saturday 6, Croft Institute PAGEN ELYPSIS – Saturday 6, Revolver GRAFTON PRIMARY, INFUSION – Friday 12, The Hi-Fi THE SHAPESHIFTERS – Friday 12, Market Hotel WAX MUSEUM JAM: RICK WADE – Saturday 13, Croft Institute MUTU – Saturday 13, Seven Nightclub BONE THUGS-N-HARMONY – Saturday 13, The Espy NOISEFEST: MC AKIL, LOUIS LOGIC, DJ SIZZLE – Friday 19, Prince Bandroom QUANTIZE, LIQUID SOUL – Friday 19, Room 680 PURPLE SNEAKERS: THE PHONIES – Friday 19, Miss Libertine BLOW YOUR OWN WAY: VINCE WATSON – Friday 19, Venue TBA ELECTRIC WIRE HUSTLE – Friday 19, The Hi-Fi BAG RAIDERS – Friday 19, Billboard DANIMALS, KYÜ, DOMEKYO/ GONZALEZ – Saturday 20, Northcote Social Club WOBBLE: LADY ERICA – Saturday 20, The Night Owl PHAROAHE MONCH, JEAN GRAE, PERCEE P, M-PHAZES – Sunday 21, Prince Bandroom ALEX SMOKE, MARTIN BUTTRICH – Sunday 21, Revolver GHETTO ARTS SHOWCASE: THE PHONIES – Sunday 21, Miss Libertine BONE THUGS-N-HARMONY, THUNDAMENTALS – Monday 22, The Espy MIAMI HORROR – Wednesday 24, The Espy PAQMAN – Thursday 25, Revolver METRONOMY, WORLD’S END PRESS, MAGIC SILVER WHITE – Thursday 25, Prince Bandroom PAQMAN

SYDNEY’S WINTER MUSIC festival institution We Love Sounds has been declared insolvent. The company behind the event has gone into liquidation following heavy financial loss plus a $430,000 debt. Organisers cited an overly competitive festival market as a key reason behind the poor performance of the 2010 edition and its subsidiaries… 52-YEAR-OLD Madonna is set to open her own franchise of gyms in major cities around the world. The Hard Candy Fitness centres will reflect her superstar taste in music, space and design. Pumping iron while listening to Material Girl on repeat – the work out of winners... DIRECTOR CHRISTOPHER NOLAN has announced that Batman: Dark Knight Rises, due out July 2012, will not follow trends and utilise the popular 3D format, commenting that he wanted “the look and feel of the film to be faithful to what has come before”. Nolan’s last Batman release was the seventh highest-grossing film of all time so we trust his instincts… SULTRY SWEDISH SONGSTRESS Lykke Li is back with a new single – get your freebie download of Get Some via lykkeli. com right now… IF YOU’RE A fan of electro-punk pioneers Devo, Beatport are offering you the chance to have a tilt at remixing the classic Freedom Of Choice and new tune What We Do. The stems for each are bundled up and downloadable for US$3.99, but the experience will no doubt be priceless…



Lady Erica is returning to Wobble at The Night Owl on Saturday 20 November with her “future garage” sound. The Brit expat, named ‘Lady’ by MJ Cole, helped break UK garage in Aust ralia – and, before that, drum‘n’bass – laying the foundations here for a growing dubstep scene. Expect Wobble’s usual high standards – with a uniquely powerful sound system and regulars DJ Cubist, AC23, SpinFX. Retsa, Woz, MC Wasp, Fraksha and Scotty Hinds. Entry is $15.


A Tribe Called Quest’s Phife Dawg and Ali Shaheed Muhammad will no longer be touring Australia this month. In a press release, promoters Peace Music allege, “It’s very recently come to light [that] the agent for the tour has grossly misrepresented the artists involved and misappropriated payments made to him on behalf of the artists.” Despite negotiating directly with management, Peace have been unable to save the tour.


Scotland’s Funk D’Void revived – and recast – Detroit-st yle techno in the mid90s, his signature tune the later Diabla. The DJ traverses techno, house and deep groove – but always with soul. He’s back to play the latest Blow Your Own Way this Saturday at New Guernica. Christ ian Vance will also perform live. Tickets via Moshtix and Resident Advisor.

OPEN DOOR Returning Irish elect ro-pop hipster

faves Two Door Cinema Club will play a club date, in addition to the soldout Laneway. The gig is at the Prince of Wales on Wednesday 9 February. TDCC, who debuted with Tourist History on Kitsuné in early 2010, will commence a follow-up next year. Get your tickets from Polyester Records, Greville Records or the Prince.


Even the beautiful people were begging to sneak into Foals’ secret (and sweaty) MySpace show in Melbourne mid-year. Now the Brit dancepunks, on a roll since dropping Total Life Forever, are returning for Laneway. They’ve confi rmed an 18-plus side-show at The Palace on Thursday 10 February. Supporting are Brisbane’s Last Dinosaurs. Tickets are through Ticketek and OzTix.


Want more Yeasayer? Here for Laneway this summer, the Brooklyn alt-dance band will also descend on Billboard on Thursday 10

February. They’ll perform material from their current album, Odd Blood, praised by NME, who declared Yeasayer to be “Candidates for 2010 ‘New Weird America’ Great Crossover Potential”. Tickets are available from www., Moshtix, Ticketek and Polyester Records.


Eclect ic and innovative Aussie hip hop outfit Hermitude – formed in the Blue Mountains, of all places – will perform at the Northcote Social Club on Friday 10 December. Tickets are on sale through the NSC, as well as its sister venue, the Corner Hotel.


Paqman, originally from the ACT, hit Revolver on Thursday 25 November with an unpredictable and totally improvised set of... neo-big beat! They’re supported by glitchy grimesters Oscar & Martin (formerly Psuche) plus the elect ro-pop Back Back Forward Punch.







SUMMERBEATZ: CIARA, FLO RIDA, JAY SEAN, SOULJA BOY, TRAVIE MCCOY, STAN WALKER, DJ NINO BROWN AND MORE – Thursday 25, Rod Laver Arena DJ KRUSH – Thursday 25, The Corner Hotel STRAWBERRY FIELDS: MODEL 500, TELEFON TEL AVIV, ALEX SMOKE, VINCE WATSON AND MORE – Friday 26, venue TBA AGAINST THE GRAIN: KRAFTY KUTS, KID KENOBI & MC SHURESHOCK, ADSORB, SKOOL OF THOUGHT – Friday 26, Brown Alley DECEMBER U2, JAY-Z – Wednesday 1, Etihad Stadium ELECTRONIC MUSIC MASTERCLASS: DIRTY SOUTH, GRANT SMILLIE – Wednesday 1, Billboard BELLES WILL RING – Friday 3, East Brunswick Club DRAPHT – Friday 3, Prince Bandroom KOMPAKT 4: DOMINIK EULBERG, MICHAEL MAYER, TOBIAS THOMAS – Friday 3, Brown Alley STEREOSONIC: TIËSTO, CALVIN HARRIS, CARL COX, RICARDO VILLALOBOS, TECHNASIA AND MORE – Saturday 4, Melbourne Showgrounds ELIZA DOOLITTLE – Thursday 2, The Toff SOLA ROSA, LAMKUM – Thursday 2, Roxanne Parlour GOTAN PROJECT – Wednesday 8, The Forum Theatre THE FIELD – Thursday 9, East Brunswick Club GOTAN PROJECT – Wednesday 8, The Forum Theatre CLIPSE – Thursday 9, Prince Bandroom BROADCAST – Thursday 9, The Hi-Fi MEREDITH MUSIC FESTIVAL: PANTHA DU PRINCE, THE FIELD, DIRTY THREE, WASHED OUT, LITTLE RED, THE FIELD GIRLS AND MORE – Friday 10–Sunday 12, Meredith Supernatural Amphitheatre EL GUINCHO – Friday 10, East Brunswick Club HERMITUDE – Friday 10, Northcote Social Club ISHU – Saturday 11, The Workers Club RAP CITY: BLACKALICIOUS, MURS & 9TH WONDER, RA THE RUGGED MAN – Saturday 18, The Espy MARINA & THE DIAMONDS – Tuesday 28, The Hi-Fi PYRAMID ROCK FESTIVAL: N*E*R*D, ARRESTED DEVELOPMENT, CHROMEO, XAVIER RUDD, GYROSCOPE, MYSTERY JETS AND MORE– Wednesday 29 – Saturday 1, Phillip Island PUBLIC ENEMY – Wednesday 29, Corner Hotel ARRESTED DEVELOPMENT – Wednesday 29, The Espy THE CASIOKIDS, NEON INDIAN – Wednesday 29, Revolver

THOSE CRAZY CATS from the Beast ie Boys have confused the fuck out of everybody with the announcement that their new album Hot Sauce Committee Part 2 will surface in early 2011 featuring tracks originally intended for Part 1 – which will air featuring tracks intended for Part 2 on an unspecified date. It’s either genius or utter insanity… IF YOU’VE NEVER imagined Diplo or Lil Jon as Street Fighter-esque charcaters, you’re in luck – the new clip for their U Don’t Like Me collab directed by the Taiwanese NMA does just it for you… LOOKING FOR A Christmas gift for that hard-tobuy-for parent or bookish partner? Margaret and David from At The Movies have selected their favourite themes and songs from the movies for a compilation of the same name. Surprisingly, nothing from Rocky features… WE’RE NOT SURE if Static Revenger cooked up his latest collab with Melbourne’s Vandalism while he was in the country, but it doesn’t really matter – Vegas will drop via Vicious on 15 November, will feature an Angger Dimas remix and will no doubt slay clubs, festivals and possibly even vampires… MORE CONCERTS RECORDED by Triple J will air on ABC 2 on Monday nights through November for Ausmusic Month. Catch The Temper Trap Monday 8 November, then Bliss N Eso, Parkway Drive and Angus & Julia Stone to wrap it up…



Teaming with The Likes Of You and Thick As Thieves, Revolver will stage an ultra cred double-bill on Sunday 21 November as part of its second Summer Series with deep techno types Alex Smoke, from Glasgow, and Germany’s Martin Buttrich. Timo Maas’ longtime st udio cohort, Buttrich has impressed techno purists with his output on Carl Craig’s Planet E. Supports include Mike Callander. Tickets through Moshtix.


Paris-based nujazzers Gotan Project have announced a second gig at The Forum on Thursday 9 December. The ensemble recently issued their third opus, Tango 3.0, which carries an American blues influence. Their show blends live musicianship, DJ culture and visuals. Tickets via Ticketmaster.

fi rst taste of his debut, A World In Progress, which finds him reconfiguring world music, elect ronica and urban. ISHU launches the album on Saturday 11 December at The Workers Club with a live laptop show featuring guest vocalists like Mantra, Class A and Elf Tranzporter. Pataphysics support. Tickets are through Moshtix.



Experimental rockers Menomena hail from Portland – Portland, Oregon, that is. Revered by critics universally, they recently issued their fourth album, Mines. The band members are renowned for their versatility on stage – and use of elect ronic gear. On their inaugural Aust ralian tour, Menomena will hit Laneway, but you can also catch them at the East Brunswick Club on Wednesday 9 February. Tickets are on sale through the venue from Friday.


Is Melbourne-based hip hop producer ISHU our next game changer? He’s plugging a single, Progress, with local MC Mantra, through ForeignDub. It’s the

Kylie Minogue worked with the iconic power-pop fold Stock Aitken Waterman. Now Melbourne’s Peter Wilson has had his brush with the team. The singer’s single Intoxicated, produced by the Dutch Matt Pop, has been remixed by Dave Ford and Ian Curnow, who have affi liations with SAW and their product ion house PWL (now PWE). It’s released digitally on 15 November through Energise Records. Wilson’s album Stereo, which contains a Stock/ Aitken composition, materialises in 2011.


The Laverton Community Centre is putting the ‘fun’ in fundraising with a

Dance-A-Thon this Saturday from 1:30 to 10pm. There will be guest dance teachers specialising in everything from hip hop to rock ‘n’ roll to Latin. Monies raised – and non-perishable food st uffs collected – will be used by the centre’s relief program and community cafe. These provide the homeless and financially st rapped with food and companionship. Volunteer DJs and promoters are also needed. To register, or help, go to www.


Forget nu-rave – experience the real thing at the Old Skool Rave party (Arm In Arm #5) on Friday 19 November at Brown Alley. Headlining is Brit icon DJ Welly, who’ll play early 90s rave classics. Welly, who made his name playing across England’s North West, now resides in Brisbane. He joins Adrian Van Raay, Seth Taylor, and Melbourne oldtimer Jeff Tyler playing a morning set. There will even be a laser show. Tickets are from www.greentix. com.









N 2008, OBESE RECORDS WAS SHAKEN AT ITS VERY FOUNDATIONS WHEN LONG TIME ARTISTS HILLTOP HOODS, DOWNSYDE AND THE FUNKOARS PARTED WAYS WITH THE LABEL. After a period of unprecedented commercial and critical success, owner Tirren Staaf was left shocked – at the time he commented that it had been “the fucking hardest period of his life” – and questioning how to rebuild a label that had just lost three of its biggest names. The easy option would have been to consolidate and focus his attention on what he already had at his disposal; instead, Staaf went on an unprecedented shopping spree, hand-picking and signing the best up-and-coming talent Australia had to offer. In 2008 and 2009, Obese signed 20-somethings Spit Syndicate, Thundamentals, Dialectrix, Skryptcha and, perhaps the label’s brightest star, Melbourne MC Illy, aka Al Murray. In 2010, Staaf ’s foresight began paying dividends. Whilst many of Obese’s recent signees have received critical acclaim and radio airplay, it has been Murray, along with Elefant Traks’ young guns Horrorshow, who has stood up as the best young talent Australian hip hop has to offer. Murray’s 2009 debut Long Story Short offered listeners an insight into the talented MC’s lyrical arsenal which he’d grafted over the product ion of long time collaborators M-Phazes and Jan Skubiszewski. It was an album of quality with flourishes of brilliance, but an album that occasionally teetered on the edge of immaturity and that at times lacked depth – both traits that Murray has endeavoured to rectify on his follow-up record The Chase.


“To be honest, I really just wanted to build on what I’d already created,” Murray says. “Long Story Short did way better than I ever realistically expected it to do. So this time around, it was thinking ‘how can I make something that’s not better, but that I’m happy with and that is a progression from the last album?’. I think having the experience of writing the first one and then wanting to build on that and wanting to correct what I thought was the wrong with the first one is what has brought me to here. I think in every aspect that [The Chase] is a stronger album than Long Story Short. Look, Long Story Short has its place and there are some tracks on there that I love, but if you stacked it up track-for-track with this one, The Chase really holds its own.” And hold its own it does. The Chase shines with musical diversity, providing a platform for Murray’s lyricism that has lost its “partyboy” edge and swapped it for clever rhyming and deep introspection. In doing so, it has also bucked the “second album blues” a phenomenon that only momentarily worried Murray. “The ‘sophomore slump’ is a fairly well documented thing and I definitely did worry about it at the very start of the whole process,” Murray admits. “But throwing myself straight back into the creative process meant that I didn’t really give myself time to sit around and do my head in about it. Also, working closely with people who don’t really have dips in form made it a lot easier than it otherwise might have been.” The collaborators he speaks of are Jan Skubiszewski (of Jackson Jackson, Phrase and The Cat Empire fame) and ubiquitous überproducer M-Phazes. Together with Murray they have crafted one of the most musically diverse and interesting hip hop albums ever to be released in Aust ralia, yet Murray didn’t set out to disorientate or surprise the listener with the album’s production. “I’m always open to different sounding beats,” says Murray, “particularly from Jan, who makes really left of centre st uff. “I mean, on both my albums there is definitely some st uff that you wouldn’t find on other albums and I really dig that. I pick all the beats myself and work on the beats with the producers, so I wasn’t setting out with the intent of doing something different for the sake of doing it differently, but at the same time I wasn’t going to not buy a beat because it wasn’t a typical Aussie hip hop beat with soul loop and boom-bap drums either. I don’t consciously go out there to do something different, but if something different does come along and I like it, then I’m more than happy to run with it.” The most discernable change in Murray’s repertoire has been the maturity with which he has approached his writing. The Chase is littered with songs that delve deep into Murray’s psyche, offering the listener an insight into the way he thinks – he’s more socially and politically aware this time around and a consciousness of his surroundings, and the way that place has affected him personally, is apparent throughout. It’s a bold and brave move for a young artist, but Murray is taking it in his stride. “I think I’ve always been interested in politics and the way the whole social system works, going way back to when I first started high school, which is really when you first start

I DON’T CONSCIOUSLY GO OUT THERE TO DO SOMETHING DIFFERENT, BUT IF SOMETHING DIFFERENT DOES COME ALONG AND I LIKE IT, THEN I’M MORE THAN HAPPY TO RUN WITH IT.” getting taught about that st uff,” an impassioned Murray says. “So yeah, it’s not something new; I think on this album however, my views have become sharper, more informed and there is a more mature process to my thoughts. I mean, I was writing political tracks before Long Story Short that were pretty much repeating catchphrases from the left side of politics, but I think now I’ve got more depth to my insights. I definitely wanted to move away from tracks that didn’t have much to do with anything. I think there were a few tracks on Long Story Short that didn’t have much that would grab you. So I wanted to avoid that on this one, but other than that, I think it was just a natural thing that all the subject matter came together as the album progressed.” When talking to Murray, it’s hard to imagine what he might be chasing. He seemingly has the world at his feet, but as he explains, The Chase is all about moving forward and what it takes to get there, a never ending pursuit of sorts. “I guess the title really reflects the whole period between the last album and this album,” says Murray. “I’ve been pursuing some goals that haven’t quite come to fruition yet, like finishing uni; touring to set the stage for the second album; even making and finishing the second album and it’s all been this big chase towards the bigger pict ure, I guess. So I guess the title really sums up the album and where I am at really well.” WHO: Illy WHAT: The Chase (Obese) WHERE &WHEN: The Hi-Fi (Melbourne) Friday 5 November, Yahoo Bar (Shepparton) Friday 26 November


N HIS LATEST RECORD, ILLY CALLS OUT HIS CLOSE GROUP OF FRIENDS: “Now Danny’s international, Phaze is international, J-Skub’s a genius and Phrase is an animal.” The men he’s referring to are Daniel Merriweather, M-Phazes, Jan Skubiszewki and Harley Webster aka Phrase; combined they form famed hip hop and music collect ive Crooked Eye. When Murray first met Merriweather and Webster at Melbourne’s The Spot nightclub he was performing live in front of a crowd of less than 20 – fortuitously, the aforementioned Merriweather and Webster had decided to stay and check out the young kid who was rhyming. At the time, Webster and Merriweather were tiny blips on the Aust ralian musical landscape, but they had the foresight to surround themselves with likeminds and immediately they invited a raw, but enthusiast ic Murray to the st udio to record with them. And despite it being a massive cliché, the rest, as they say is ‘history’. Crooked Eye’s record is formidable – Merriweather is now one of Aust ralia’s biggest international pop exports, recording and writing with the likes of Mark Ronson and Amy Winehouse; M-Phazes is the first Australian hip hop producer to properly crack the American hip hop market, making beats for Talib Kweli and Pharoahe Monch; Phrase broke new ground being the first Australian MC to be signed to a major label and J-Skub is the driving force behind Jackson Jackson and has produced music for The Cat Empire and Bliss N Eso. It is remarkable that a group of young men (predominantly from Melbourne) who came together initially just to have fun and make some music have all had such success both internationally and on the home front. So, what does Murray put it down to? “They are all the hardest working motherfuckers I know. They are all super talented, passionately dedicated and know what they want. That’s the reason those guys have done so well, bloody hard work.”







here are many careers of music greats that weave between the foundations of a genre, or form a waypoint in the history of music. Some become legends for momentary works, but few become a true cultural icon – representative of the experiences, excitement and excesses of a movement. And no movement had more excess and excitement than the disco era of the 1970s, with Donna Summer unanimously appointed as The Queen Of Disco. Summer’s experiences through the birth and death of popular disco reads like a who’s who of the scene, with a surprising and lasting legacy DISCO DIVA,1968-PRESENT on all forms of popular music through her innovative songwriting, enigmatic persona, and careful choice of collaborators. The impact and importance of the sultry vocalist behind such hits as Hot Stuff and I Feel Love is nearly immeasurable, and sees a new generation of fans the first coming of disco than I Feel Love, a track oft-remarked as being so emerging from the latest disco resurgence. ahead of its time as to remain a reference point for elect ronic producers to Born Donna Gaines in Boston in 1948, Summer was the product this day. Summer’s searing notes and dreamy repetition layer over Moroder’s of a large family of devout Christians, finding her voice in church arpegiated bassline, such an infect ious hook as to have inspired UK elect ronic with the choir, and at home with the popularity of Motown. Feeling artist Underworld on their 1998 stadium techno hit King Of Snake. Indeed, the pull of a music career as her way out, Summer dropped out of re-issues of the single began to include credits for Giorgio Moroder, Pete school and moved to New York, beginning a roller-coaster ride as Bellotte and one Donna Summer. In the same year, countless uncredited samples she gained a foothold in theatre and on Broadway. These formative would hit the market as the blossoming house and hip hop scenes made use of years saw the horizons blend through tours of the USA and increasingly affordable Akai and Roland samplers to lift grooves, vocals and riffs Europe, performing as a member of the pop group Family Tree from Summer’s records. after settling into Munich, Germany. It was here that Summer The party drew to a close as the decade did, with the dream team breaking met future husband Helmuth Sommer, retaining and tweaking up as disco collapsed under the weight of the excess, the greed and the steady his name upon their eventual divorce in 1974. In the same year, impersonation of itself. During this time Summer was embroiled in her own her first album release on European label Groovy Records met battles, both in her career (separating from Casablanca Records), and in her personal with an encouraging if moderate success, driving her to pursue life – suffering an addiction to prescription drugs in her battle with depression and the production talents of Giorgio Moroder and Pete Bellotte. anxiety. Despite the challenges, Summer was buoyed by a wave of support following Almost instantly, the pairing of Summer and Moroder her participation in the world-televised Music For Unicef concert, to become the first became a hit factory, with the 1975 single Love To Love You artist to sign with Geffen Records (although legal problems quickly arose). Embracing Baby drawing attention for Summer’s moans and groans. the popular post-new wave rock of the time, new hits including She Works Hard For The The eventual 17-minute extended version was a heavy dose Money rose up the charts, and signalled the emerging realisation of Summer’s timeless of what sounded shockingly at the time like simulated talents. While falling short of the routine gold status releases of the 1970s, Summer’s orgasms, forever setting the singer’s image as a sultry output continued to inspire and to break new ground. Even to this day, Summer star and sex symbol. The musical experimentation would continues to pursue new challenges and new projects, announcing earlier this year the become a deciding factor in the singer’s success, working intention of recording a series of standards, hot off the back of releasing the single To Paris closely with Moroder in his exploration of synthesisers With Love in August. and electronic music. In time this experimentation would Despite the current activity, for many the career of Donna Summer is intrinsically linked set the mould for disco for the remainder of the decade. to the heady days of disco, and to that effect there is no better artist to trace the outline This sound typified by the steady groove of an elect ronic of the creative passions, the fashions, and the excess and abandon of the era. To the casual drum machine, the warm bass arpeggios from a wall disco fan, or those stepping from the current interest in cosmic disco, space disco or discoof Moog modular synths and Minimoog keyboards, whatever, there is no better reference point than the Moroder-years of Summer’s output. In and the vocal treatments and dreamy reverbs around fact, a journey to any record store for anything with Summer’s name on it is a lesson in the Summer’s strong projections and crooning. high bar set by an artist who was once mocked by family for the way she sung and looked, and There is perhaps no greater example of the peak of then worshipped as a leading voice and sex symbol for an era with no shortage of talent.






hen 3D World catches up with Ricardo Villalobos in his st udio he sounds tired, but it’s not the usual DJ’s excuse of a big night the previous evening, rocking some club in exotic lands. Rather it’s something a little more mundane. “I’m good, it’s morning but I’m good. I had to take my children to kindergarten so I am awake now,” he laughs, a little begrudgingly. Having been in the business of rocking dancefloors since the late 1980s, it’s hardly a surprise there’s very adult aspects to his life now, but it certainly hasn’t affected his desire to keep doing what he’s doing. “For me the most valuable thing is to be together with my family, but I have to do my job. From time to time I have to separate. It’s not easy sometimes. And as long as my health is permitting it – my ears and my health in general are making it possible for me to go on – I want to give more time to producing music in the st udio too.” And when your job is making music you enjoy and then playing it out for people, why shouldn’t you keep going? Having been on the scene for the better part of 20 years, Villalobos has seen the elect ronic music world, and in particular DJing, evolve over time and over different mediums, throughout which he has remained very much a traditionalist at heart. “For me it hasn’t changed so much. I’ve been playing the same st yle of music for the best part of 20 years. I’m st ill playing a mix of house, percussion and rhythm music, and I’m st ill playing with records.” That’s not to say he doesn’t see the advantage of new mediums, but only to a certain degree. “Of course what changed is playing with CDs. When you play with CDs you have to think more about what you’re doing. What’s even worse is playing with computers. I couldn’t imagine playing with laptops and things like Traktor; it’s hard to identify between songs and what comes next you know. I prefer to play


with records forever.” CDs do come with benefits though; the fresh and/or rare tracks that make up Villalobos’s musical arsenal at his gigs. “It means I’m playing my own product ions and friend’s previously unreleased product ions, which are the secret weapons you have with CDs.” Villalobos was born in Chile before he moved to Germany with his parents to escape a military coup, but it’s a combination of harnessing South American sounds and combining them with his German heritage, along with some classical and jazz, which has seen him become one of the world’s biggest DJs. He regularly rocks arguably the world’s most famous club, Fabric, and in 2008 was named Resident Advisor’s number one DJ in their Top 100 DJs poll. It all seems a far cry from his youth, a time he looks back on fondly and one that played a big role in shaping his interest in how music

affects people today. “I grew up in Germany but at home I was always in Chile, being in South America, listening to South American music and chilling and having kitchen parties with the friends of my parents. All the people coming from South America were always together, partying together and dancing together in any situation – being very happy people, you know.” It was the Chilean’s constant bright outlook on life that has understandably inspired Villalobos to enjoy the good things in life. “Though they were separated from their homes and forced to live in an exile situation, it was always a very positive and fun time of my life. So of course this South American music and this feeling of life and enjoying music is absolutely inside my concept of playing records and enjoying partying.” It’s then the conversation turns to the true driving

force behind his product ion and DJing – he just wants to explore sound and what effect it has on you, the punter, when he plays it in a club or under the fest ival sky. “[Producing and DJing are] like jamming; entering the world of frequencies, the wide range of frequencies and what they do to our psychology and why we are dancing to it. And the journey factor, all these things. I’m in constant research with sound.” When it’s suggested that this is what drives him to keep making new music, he get’s deeper into his interest in how people react during a Ricardo Villalobos DJ set. “It’s like [trying] to find out the truth about the dancefloor; making people move and what they feel, and I’m constantly thinking about that. It’s not really a conscious thinking though, it’s like a subconscious process and program in your mind which is also like loving the party,” he says before admitting it’s not all about us. “Having fun with my friends, that is of course the other driving force.” It has been a while between drinks for Aust ralian fans of the maest ro of minimal, and Villalobos is as excited as anyone not only to return to our shores, but see what experiences he can get out of Aussie crowds. “I’m really very curious to see how it (Aust ralia) has developed with people and elect ronic music. But I have a rhythm formula, and it works anywhere. It’s like a universal language which is connected with all kinds of culture. I’m sure it’ll be lots of fun,” he says with what you can tell is a big grin on his face. “Its like a new experience, it’s been a long time, but the rhythm formula is working for sure, always!” WHO: Ricardo Villalobos WHERE & WHEN: Sneakerpeeps at Prince Bandroom (Melbourne) Friday 26 November, Stereosonic at Sydney Showgrounds Saturday 27 November, Sneakerpeeps at Metro Theatre (Sydney) Friday 3 December, Melbourne Showgrounds Saturday 4 December, RNA Showgrounds (Brisbane) Sunday 5 December



econd album syndrome is a well-documented affl ict ion, but when it comes to Aust ralian dance labels, few have suffered the malady’s effect quite like Modular. After a decade spent waiting for The Avalanches to follow-up Since I left You, rumours swirling of titanic member fall-outs and entire albums scrapped, the collect ive is st ill reportedly ‘clearing samples’. And while a comparatively acceptable three years have elapsed since Guns Babes Lemonade had neon-swathed fest ival kids chanting its catchy refrains, creator Muscles has courted far greater controversy. Late 2008 saw the Melburnian likening his stable to “a blind three-legged conjoined-twin kitten”, as he accused it of bumping him from the bill of artist showcase Nevereverland, before reportedly threatening to sue. And despite announcing the following January that his second album was “90 percent done”, a year later people were no closer to hearing evidence of Manhood ’s existence. This month sees Muscles finally return with new material, and though it’s a five-track EP rather than the expected longplayer, Younger & Immature is nevertheless a rollicking party piece that plays to its producer’s st rengths and finds him measurably less aggrieved in conversation than the contentious persona that came before. “After Guns Babes Lemonade’s unexpected success, I got the point where I was supporting artists like Daft Punk and The Chemical Brothers, and I really wasn’t prepared for all the st uff that was happening, and was sort of learning as I went along,” a relaxed and humble Chris Copulos openly admits. “I really thought I needed to lift my game, so as soon as I finished touring I wanted to get st raight back into songwriting, but I made the mistake of just sitting in the st udio six hours a day and trying to force myself to write songs, until I realised it wasn’t really working. “Now I know that in order to make songs, in order to be inspired, you need to just push yourself out of your comfort zone, do things that you normally wouldn’t do – go out and see new bands or DJs, meet new people, go to new places. From a lyrical point of view it’s important to have experiences like that – something new generally inspires creation.”

Younger & Immature, to the surprise of many, sees Copulos retain his Modular home. His assertion that the high-profi le fracas was essentially “a storm in the teacup” born from misconst rued Twitter comments is admittedly a rather awkward accountability shift to swallow, yet he accepts that mistakes were made and learned from, while full of praise for the label’s ethos. “At the end of the day, like any business with record companies, you have disputes over things, you resolve them, and you keep going. When you’re part of a label like Modular that are really great, independent, and let their artists create what they like, it really is a family environment: – you can have a fight, but then you make up and move on.” Copulos is targeting July or August 2011 to finally drop his second album. Whether he releases another EP before then is an issue he and Modular are undecided on. “We talked about following Younger & Immature with another EP Older & Wiser, than the album Manhood,” he reveals. Whichever comes next, chances are it’ll st ill incorporate some of the material he’s been dabbling with over the past two years; he’s just enjoyed requisite distance now to be able to see the wood for the trees. “Writing’s a career – you’ll find hundreds of unfinished songs on your computer, hundreds of beats, hundreds of melodies, and you can always go back to them,” he explains. “The more you accumulate, the more ideas you’ve got to play with to create songs. I think I wrote Forever even before Ice Cream, but couldn’t think of a second verse, so I eventually went back to it and it ended up becoming the first track off the new EP. “A lot of people don’t have time to listen to a 12-track album these days; there’s been a real resurgence in the last six months or so of bands putting out EPs before their albums as a sort of teaser of what’s to come, and I think this new EP is a great bridge between the past and the future. It’s great for the live show, too, as now I’ve got more songs to play, and I’ve remixed some of my classic tracks to fit in with the new ones, so it’s a new live experience as well as a nostalgic one.” With Muscles about to return to the tour trail, he’s in the process of conceiving upgrades for said live show and time has done little to dent his flair for the dramatic. “I needed a break, but now I’m back I feel a lot more carefree than I used to feel, a lot more open, just ready to have fun and party,” Copulos proclaims; proof that while Muscles 2.0 may be lighter in outlook than last we saw, attitude’s an attribute he’s st ill plenty ready to flex. WHO: Muscles WHAT: Younger & Immature (Modular/Universal) WHERE & WHEN: Eureka Hotel (Geelong) Thursday 4 November, Prince Bandroom (Melbourne) Friday 5 November, Mona Vale (Sydney) Thursday 11 November, The Gaelic (Sydney) Friday 12 November, Alhambra (Brisbane) Friday 3 December, The Cooly Hotel (Gold Coast) Saturday 4 December





rom his own underground solo career through to his breakthrough mainst ream success with alternative duo Gnarls Barkley, Thomas DeCarlo Callaway has always been renowned as a risk taker. Emerging a couple of months ago with a new solo single called Fuck You! was another gamble for the 35 year-old Atlanta singer who goes by the stage name Cee Lo Green, who says that despite his current success he wasn’t really sure how audiences would react to the single. Whilst some might say the song’s gimmick was an easy ride to the top, using an expletive in the title of the fi rst single from your new album could quite easily be career suicide from an artist who’s renowned for doing everything he can to buck current trends. Luckily - and deservedly – for Callaway, the song has captured the attention and imagination of audiences worldwide and has resulted in one of the biggest anthems of 2010. With Callaway’s album The Lady Killer due out on November, it was somewhat surprising to catch up with the ultra chilled-out singer in a London st udio in October still working on the album. Surprising, because this year alone Callaway has featured on numerous soundtracks, released a mixtape of brand new material (Stray Bullets), and is reported to have already recorded plenty of new songs for this album. One would imagine that the singer already had more than enough material to pick from for the new set. “I do,” he laughs. “I have an awful lot of material to pick from – I’ve recorded almost 70 songs for this album, so the most difficult part has been narrowing it down to about 12 songs that you get fi rst. I believe over a short period of time you’ll be able to hear new music here and there because I have so much of music that I recorded in relation to The Lady Killer.” Interest ingly enough, the single’s success means everyone wants to be involved in the album, and since the project is signed to two different labels (Elektra in the US and Warner in the UK and Aust ralia) the respect ive labels aren’t necessarily seeing eye-to-eye on what they’re expect ing from the finished album. “Everyone’s got an opinion! That situation is causing quite a bit of confl ict,” he laughs. “The UK wants something a little bit different whereas the US are a bit more traditional in that sense, but we’re working it out.” The smash international victory of Fuck You! would surely have caused a rethink at his record labels, who might otherwise have written off the project as just another low-key release. One would imagine that the crossover success would have meant that he was suddenly given a truckload of cash to add to his recording budget, and pay for the gorgeous st ring orchest ral arrangements that swirl around the album. “Well, we had already made the record in a ‘Big Black James Bond’ vein,” Callaway reveals. “I had said on a few occasions that I was trying to pickup where Barry White left off - I wanted that Love Unlimited Orchest ra type of sound, but st ill very urban. I really wanted a very sophist icated and grand st ring approach to the sound of the record, and so I had already incorporated that into the sound of the album well before the single took off. The songs on this album were all pretty much recorded before Fuck You! made it out there.”


Fuck You! instantaneously catapulted Callaway into the upper echelons of the charts worldwide. From urban alternative to pop, it picked him up a new audience who were previously only aware of him via the Gnarls Barkley single Crazy. For those in the know however, Callaway is a longestablished singer/ songwriter who has paid his dues over the years, despite the fact that some may think that his new success is just a result of his collaboration with 2010’s omnipresent pop boy-wonder Bruno Mars. “I met Bruno and his writing partner Phil Lawrence about a year or so ago – almost two years ago now’.” Callaway recalls. “I think they were staff writers at that point for whomever, and I

was introduced to them through my A&R guy at my record label. Over a short period of time we just kinda all grew fond of each other, and we just shared a similar sense of humour about this and that. The song just ended up being a product of that working environment, so it was just a collaborative effort. On a few occasions I’ve read that it was perceived that the song was written for me – as if it was scripted out for me – and I just want to be clear that that wasn’t the case.” The Lady Killer is a quality soul album from start to finish – lush in its orchest ration and arrangements, catchy in its hooks and melodies, and joyous and infect ious in its party spirit. Whilst The Lady Killer borrows from the past, it’s certainly a very contemporary album in its own right. Fool For You and Old Fashioned are wonderfully seduct ive slices of soul, whilst I Want You, Cry Baby and Satisfied shimmer with a retro-swing that is designed for optimum levels of party-delight. “Quality is my fi rst and only concern. I always feel like I’m doing music for the people, by the people. If I can touch them in a direct kind of way then I believe that I’ve succeeded in all that I wanted to do.” WHO: Cee Lo Green WHAT: The Lady Killer (Warner) out Friday 5 November WHERE & WHEN: Good Vibrations Fest ival at Centennial Park (Sydney) Saturday 12 February, Flemington Racecourse (Melbourne) Sunday 13 February, Gold Coast Parklands Saturday 19 February




n Germany there’s a bird that lives nearly its whole life in the air – eating in the air, drinking in the air, fucking in the air…” Dominik Eulberg has just done more than share a piece of fascinating ornithological trivia; he’s paid tribute to one of the everyday miracles providing the basis for his next artist album, due next year. “I’m select ing ten miracles that exist outside our front door, but nobody really knows about them. There’s one for each track, and it’ll be released next spring.” As Eulberg’s animated discussion of what’s currently occupying his time demonst rates, talking shop with the German techno producer is to cover a far wider spect rum of subjects than typically arises from asking a musician why they make what they make. When he really gets cooking you might even hear Dominik illust rating the fundamentals of molecular physics, but beneath the heady concepts it all returns to a man who’s simply deeply smitten by earthbound marvels. “Today I was rambling for five hours, 20 kilometres, through the woods,” he says cheerfully. “It’s autumn now, they’re really colourful – this is the beauty of nature, the variety, that’s making me so thankful and happy of this life. Superst ring theory says that all atoms are made out of st rings, and strings are music, so when I’m out with nature I’m always feeling these strings, and going back to the st udio. Like a painter paints a pict ure, I like to do an acoust ical pict ure with my synthesisers.” Growing up in the rural region of Westerwald, his father a nature scientist, Eulberg continues to find comfort in seclusion. Whilst some producers might thrive on the bust le of concrete jungles, this one would rather inhabit a space where he can crank the volume up to 11 and only the local wildlife is likely to mind. “I have a small house in a forest, so there’s nobody around me to get upset if I turn the music up. When I was a kid my father showed me all the butterflies, birds and plants, so at six-years-old I already knew all the species,” he fondly recalls. “We had no television till I was 15; nature was my television. It’s still my big passion, my source of getting power, of creativity. I also st udied biology and worked as a

national park ranger in Germany, and I’m still working for nature organisations, counting birds every two weeks, and writing for a magazine about nature.” It was the sounds of Sven Väth and his 90s radio broadcast Clubnights, rather than calls of the wild, that drew Eulberg to techno – he freely admits to being ambivalent about music for the fi rst fourteen years of his life. “I heard the show on a ghetto blaster with my neighbour friends, and I was like ‘oh my god! What’s this?’,” he explains. “I knew all the nature sounds and these were sounds I’d never heard, so I bought a synthesiser to get behind the secret of how these sounds were generated. For me the main quest ion was how are these sounds being generated by elect ric

energy – how does this work?” Eulberg’s 2004 debut LP Flora & Fauna on the Traum Schallplatten imprint, which he somehow managed to craft while juggling his university st udies, met to rapturous acclaim. Given it was a concept album which saw him not only sample animals, but also pen a trackby-track test imony to his affect ions on the cover, it was far from a prototypical techno record. But Eulberg insists that seeking popularity was never the goal. “When I can’t do techno music I get in a bad mood because when I’m making music I can release all my thoughts. I really feel happy when I finish a track because it’s like putting all my thoughts in a package, so I wasn’t really thinking about whether people would like it, will it be popular or not. I just had a cheesy computer, not even monitor speakers, so when I started getting popular in Germany everybody was asking me what’s the secret, and when I showed them where my music was coming from they didn’t believe me.” Eulberg is an intriguing proposition: he’s forged a career in which travel is pract ically burnt into the job description, yet admits that it’s a life he’s st ill uneasy about embracing. “It’s not natural for me. I’m a very natural guy, who has their family, their village, moves 20 or 30 kilometres outside it, and then comes back. In the beginning I didn’t like it at all to go on tour. Even today when I have holiday I’m not going to Jamaica or Florida, I’m going to regions that are very close to here, because this is my home. But then I forced myself to learn that it’s good to see the world, to learn about it, to meet so many great people and see so many great inspirations. But I have to tell you, I’m always glad when I’m at home; this is my kingdom.” At least Dominik Eulberg’s retirement plan is already in place, and while life as a park ranger in rural Germany might seem as far removed from techno production as could be, for Eulberg, the loves of his life aren’t mutually exclusive. “Music is nature for me – music is not a human invention, it’s everywhere.” WHO: Dominik Eulberg WHERE & WHEN: Kompakt 4 Tour at Luna Loca (Gold Coast) Friday

26 November, Barsoma (Brisbane) Saturday 27 November, The Royal Melbourne Hotel (Melbourne) Sunday 28 November, Subsonic Music Fest ival Saturday 4 December





ost all of the reports of Jesse Eisenberg, star of the ‘Facebook movie’ The Social Network, have been of an awkward kid, younger than his 27 years and sharing something of an affinity with the man he plays – the world’s youngest billionaire Mark Zuckerberg. But sitting with Eisenberg in a hotel room overlooking Sydney Harbour, he’s less awkward than he is fidgety as he plays with the top from his bottled water and thread from the seat, though his answers are delivered with convict ion. He’s also picked up the cold that descends on Sydney virtually every season-change and despite being regretful that he can’t shake 3D World ’s hand at the end of the interview – he goes through five tissues during our time – he’s fond of the city. The Social Network has understandably attracted a lot of attention internationally – initially largely cynical. It is, however, a great fi lm, evolving into a powerful statement on social interact ion and those relationships after a sluggish fi rst 15 minutes. It revolves around the court case initially brought to Zuckerberg in 2004, which claims he stole the website idea, as it recounts the development of Facebook. “The way I viewed it is that they told him that they had the idea of the painting of a woman,” Eisenberg says of the case, quick to jump to Zuckerberg’s defence, “and Mark went home and painted the Mona Lisa. When I think about it in those terms I think Mark is totally defensible, you wouldn’t say that Leonardo da Vinci stole the idea of the Mona Lisa from someone who told him to paint a women because you look at is as an art form and only one person could paint this incredibly evocative painting. “I view Mark the same way, he’s the only person that could have created this invention of Facebook and therefore when other people claim that he took their idea, Mark views it as just them wanting a piece of something that turned out really successful, because of him.” Eisenberg describes his character as “a revolutionary and a hacker”, and his wording is revealing. A rebel needs something to protest against and doesn’t view their act ions as a means to an end, whereas a revolutionary has a plan, an intended outcome. “I’ll tell you I felt more comfortable playing Mark four years later when he’s in these deposition rooms to defend himself against people who say he stole the website,” says Eisenberg. “I feel comfortable playing that youthful and excited and inspired character but it was exhilarating to play him older and explore how he reacts to people he feels are out to dest roy him and he has some pretty aggressive scenes in these deposition room scenes, and they were far more exciting for me.” The creation of Facebook took eight years, but the fi lm moves at a remarkable rate, depict ing a lifest yle of alcohol and rock’n’roll for the programmers (indeed, individuals involved have been quoted as saying this is the way they’d much rather remember those years). The speed


THIS MOVIE IS JUST PROVIDING A VEHICLE FOR PEOPLE TO TALK ABOUT THE SOCIOLOGICAL SIGNIFICANCE OF ONLINE SOCIALISATION AND THE POTENTIAL DANGERS THAT THAT MIGHT BRING AND THE POTENTIAL BENEFITS.” serves the ideals of social networking, the rate in which we communicate in the modern age and the haste in which meaningful relationships can be fostered and dest royed. In this sense, The Social Network will be looked back upon as a touchstone fi lm. “It’s taken on a cultural significance beyond a way personally that we could have ever done. Th is movie is just providing a vehicle for people to talk about the sociological significance of online socialisation and the potential dangers that that might bring and the potential benefits. But that has less to do with the people who made the movie and more to do with the way the culture is absorbing it.” WHAT: The Social Network WHERE & WHEN: Screening in cinemas nationally




ike all European cities, Budapest has a long history. It began right about the time Jesus was born, when nomads wandered into modern-day Hungary and began building. Later, it was occupied by the Romans, who noted the thermal waters beneath the city and named it “Aquincum”. In 1361, after many years of st rife, it finally rose to prominence as the capital city. Th is wasn’t to last, however, as the Turkish Ottoman Empire swept through and conquered. After reclaimation by the Christ ians, Hungary was most ly peaceful until the 20th century. In more recent times, the country was ravaged after siding with Germany in both World Wars. In the Holocaust, more Hungarian Jews perished than did those from any other country, despite leaders refusing to be the perpetrators. Soon after, the country fell under communist

rule when the Allies presented it to the Soviet Union for their war effort. Th is rich, violent and varied history has immensely gifted the third city in the so-called “Golden Triangle” completed by Prague and Vienna. The city is divided into two parts, with the mighty Danube River lying in between. The Western side, Buda, takes it’s name from a Hun

leader who ruled there. The newer, Eastern side is Pest, named after a Slavic word for oven, referring to a cooking method which originated there. Though there’s much competition between the two, Pest is clearly the winner for visitors. It’s biggest drawcard is the Jewish Quarter. Despite the events of World War II, Budapest st ill contains more

Jews per capita than any other city in Europe. Grand synagogues are a welcome change from the Christ ian const ruct ions that dot the rest of the continent. However, the real surprise is ruin pubs. After WWII, when so many Jewish homes were left empty, the drinkers moved in. The result is hundreds of hidden establishments, with many of them maintained in the same condition they were in the 1940s. The decor, furniture and sometimes even personal possessions were left as is. One bar even lets you drink while sitting in the shell of a former family’s car. North of the Jewish Quarter, in Varosliget park, visitors find a wealth of historic buildings. Most important, however, are the city baths, a cultural artifact courtesy of the occupying Romans and Turks. There are many bathhouses st ill remaining in the city.




Though Hungary may not play st rongly on the mind of travelling Aust ralians, it’s fast becoming a popular dest ination for Brits and wealthy Europeans. Like most countries in Eastern Europe, it’s cheap. However, with superior infrast ruct ure and better organisation than its neighbours, it’s cemented itself as a hassle-free zone. Most locals speak at least some English, but the Hungarian language’s closer relation to Asian tongues imparts a st range accent that other Europeans don’t possess. What else is there to know about Hungary though? Well, they’re immensely proud of their inventors. Ever heard of László Bíró, the inventor of the humble ballpoint? Hungarian. Ernő Rubik, the bloke who made that infernal coloured cube? Hungarian. Or perhaps the two fellows who fi rst isolated vitamin C? Okay, probably not, but they were Hungarian too.


Population: 1,721,556 Language: Hungarian National Drink: Unicum Average Annual Rainfall: 592.8mm (23.339 inches) Currency: Forint (AUD1.00 = HUF194.464) On the banks on the river lies another of Pest’s worthwhile attract ions. It’s a modern undercover market, with the ground floor proffering a wealth of fresh food. Upstairs is a mass of swarming tourists clambering over one another to try local dishes. Foremost is langos, a deepfried, pizza-shaped bread which tastes more like a doughnut. A range of sweet and savoury toppings are usually piled on afterwards. It’s Budapest’s classic late-night food for a preemptive hangover st rike. The world-reknowned Hungarian goulash is also on offer, though locals admit that the paprika-heavy stew isn’t act ually that popular. After a hearty meal, it’s just a short st roll across one of the many pict uresque bridges to reach Buda. Unlike Pest, this side of the Danube is hilly. A dramatic palace overlooks the river, though the inside is non-existent, courtesy of


the Nazis. Rather, most tourists head towards cast le hill, a small enclave nest led between medieval walls. It’s here that more upmarket restaurants can be found, as well as the st unning views of the city. Finally, southwards, after navigating some very poor public transport, there’s Memento Park. After


Getting there isn’t as simple as flying to London. For example, Qantas routes all their ‘direct’ flights through Frankfurt before backtracking to reach the final destination. However, if you’re already in Europe, there are a wealth of airborne options. Easyjet, Hungarian Airlines and Eastern Europe’s answer to RyanAir – Wizz Air – offer a range of routes to Ferihegy Airport in Budapest. Incidentally, the aiport is named after a brewer, which is no surprise considering the quality of Dreher, the local drop. As a landlocked nation, Hungary is wellconnected by trains. Unfortunately, the trains can be much slower than the newer engines found elsewhere in Europe. The country is bordered by Aust ria, Slovenia, Croatia, Romania, Serbia, Slovakia and Ukraine. Connect ion time to nearby capitals varies, but generally involves eight to ten hours worth of travel.

IF YOU LEFT TODAY? the fall of communism and the Iron Curtain in 1989, the city relocated all its monuments here, rather than dest roy them. It’s a chilling experience to see giant-like statues of Lenin and imagine them inhabiting everyday life. Th is enthusiasm to embrace history, good or bad, is exact ly what makes Budapest worth a visit.

British Airways flys to Budapest (with connect ions). Return Airfare: $1916.26 (from Sydney)/ $2298.75 (from Melbourne) / $1929.05 (from Brisbane). Go to www. st udentfl for more info. Cheapest Hotel Room – Room only accomodation from AU$121 (per night twinshare) via Current Foreign Affairs Status – Be Alert To Own Security. See www.smartraveller. for updates. Entry/Exit Requirement – Hungary is a party to the Schengen Convention, which allows Aust ralians to enter Germany without a visa in some circumstances. Make sure your passport has at least six months’ validity from your planned date of return to Aust ralia.



The latest volume in the Nu Elect ro series on Street Sounds is Volume 3 and the best feature about this release is that there are more songs with MCs and less of a techno influence. JustIce and KRS One get a DJ Tones remix for Blah, Blah, Blah, whilst Donald D and Brother B’s legendary B-Boys alias return after more than 20-plus years with Cozmo D’s Newcleus for the st unningly convincing We Devolve, while the st ill touring and recording Egyptian Lover hooks up with the exemplary TR-808 button pusher Brian E for their hypnotically authentic This Nu Elect ro. The biggest surprise was hearing the cosmic glider Captain Rock return with the kings of 80s elect ro-funk The Fantast ic Aleems on product ion for Dance And Party. So far so good, but then I hear MR P and The Gunslinger’s Just Another Day and my head explodes. Totally bionic with its early 2 Live Crew st yled raps, yet it’s delivered over a totally modern sound that has absolutely everything in it. Manchester’s one-man army AJ Beats knows how to keep the vocodered vocals simple and sparse and he’s also the only one who incorporates any scratching on his st unningly dope track Take Control. When I see that J-Double is from Orlando I thought that he might go a bit acidy nu-school breaks, but nope, he murders his tune 2 Tha Limit with killer vocoder, orchest ra stabs and that special Floridian bass so endeared by that region’s Miami Bass culture. I’m st ill totally unfamiliar with the Sydney outfit Fatback4way, but they follow up their Volume 2 inclusion with yet another Darxid remix that evokes a more elect ro-funk vibe with their Roger Troutman talkbox affected vocals st ill on display. Now I’m more of a 110-120bpm kinda guy, but occasionally I don’t mind tracks over 130bpm, as long as they are clean and uncluttered, hence my dislike for the overly ravey hard techno sound. The indust rial slant is too far removed from the st yle I like and that’s why I wasn’t enamoured by the likes of Bloco Elect ro, N-Ter, Illektroid, Rob Real or Anthony Nuzzo’s contribution. The closest we get to a Miami Bass tune is Germany’s DJ Sonic with his incredible Magic Carpet Ride. It’s an orgasm of vocodered vocals, relentless hi-hats and a bullet-riddled bassline. As retro oriented as it might have appeared, it st ill sounds futurist ic to me. Fantast ic effort.



istening to the fi rst st udio release of Dialect & Despair, it becomes apparent that MC Nelson Hedditch (aka Dialect) was reared on New York’s true school hip hop. While the Adelaide DJ/MC one-two are from generation Y, they prefer to measure out the ingredients to their product off the Golden Era’s raw recipe. With support from one of Aust ralia’s foremost purveyors of the traditional in Delta and two thumbs up from EPMD’s Erick Sermon, Dialect & Despair have released their fi rst LP The Vortex and intend to keep biting at the Big Apple’s original hip hop formula to illust rate their love of the art. Aptly named after the st udios where Dialect spits verses well beyond his years over producer Despair’s big beats of timeless hip hop, The Vortex’s Ageless demonst rates Dialect’s ability as a natural MC. Here he finesses his rhymes and brings his lyrical steez and knowledge of hip hop’s art and cultural side to another level. “I had fun writing all my lyrics but that beat in particular had that classic hip hop feel and I was like ‘damn that track is just ageless, you couldn’t put a date to that kinda beat’. I guess when it came to writing the song I just wanted it to be real nice,” Hedditch says, “as it reflects how I feel about hip hop. It’s definitely one of my favourites.” Longevity also details Dialect’s thoughts behind the state of hip hop on the home front and poses the quest ion on the st rength of a very grounded culture st ill reaching from the roots. “Man I can see it going any which way,” the young rapper predict s. “It’s st ill in it’s baby stages. Aussie hip hop has had waves of popularity and [over the years] sales have dipped. It’s like skateboarding. You know skating was massive at one point in the 80s then it dipped but came back in the 90s again. But skateboarding is always gonna be there – you’re always gonna have skaties even if it’s not the most popular thing out. So regardless of what’s popular in music, and especially in Aust ralian hip hop, people who love the culture will always be there, that’s what I reckon.”

The new album harboured only those privy to The Vortex st udios. MCs Delta, Motion and Social Change drop verses, surely only to give Dialect – an MC with so much to say – a moment to suck air. As Hedditch explains, for their first big outing Dialect & Despair wanted to solidify brand recognition. “That was a conscious decision. We just wanted to show this is our crew. We wanted to create that sound so people when know hear us they instantly know, ‘yep that’s Dialect & Despair’.” During Aust ralia’s recent EPMD tour, Long Island MC Erick Sermon co-signed Dialect And Despair’s hip hop - a moment young rapper Nelson Hedditch won’t soon forget. “He wanted to hear some beats so after the gig he came back to The Vortex. He was giving us info about the music indust ry, about recordings, telling stories, the full experience. We gained a lot from it and he had a listen to the fi rst eight tracks (of the album) and really gave us mad props. It was surreal and really cool.”

WHO: Dialect & Despair WHAT: The Vortex (UKNOWHO Records)



He’s contemplating a fourth LP. Next year Sandberg will hit the fest ival circuit with a new live show, incorporating video. He even credits his scoring that Panorama gig to Outpost’s success.



ould emo-techno catch on? Seasoned DJ/producer Funk D’Void, aka Lars Sandberg, is touting a sophist icated new genre to counter the ubiquitous “elect ro punk-rock” he also slyly calls “ADD music”. “That’s the beauty about elect ronic music – you can just branch off into a hundred different subgenres,” he cackles. “It’s good fun.” Sandberg defies easy categorisation. At 21, his Aust ralian mother, from a farming clan in Warrnambool, left for England, meeting his Swedish Dad. Sandberg then grew up in Scotland, where he discovered hip hop – and DJ culture. “I locked myself in my room for three months, grew a beard, and became a scratch mix DJ.” In the 1990s the elect ronic music convert introduced his George Clinton-inspired moniker Funk D’Void. Aligning himself with Slam’s Soma stable in Glasgow, he’d put a fresh – and soulful – spin on Chicago house and Detroit techno, airing records like the Armando-sampling Jack Me Off. Today Sandberg resides in Spain. Here, until recently, he shared a st udio with Groove Armada’s Andy Cato. Berlin is the current hub for cool elect ronica, but this “family man” prefers Barcelona. “It’s a great city,” he says of Berlin, “but the climate’s too harsh. I’m all about quality of life. I’m looking outside my bedroom window now and I’ve got palm trees and a beautiful garden and the sun’s shining. I was in Berlin at the weekend and it was apocalyptic for me. It was great playing in Panorama Bar – I played the Sunday afternoon, it was my fi rst time there – but then you step out to this cold scorched earth... I’m definitely more into the Mediterranean vibe!” Sandberg is best known for Diabla, the defining techno record of 2001, but he’s long been prolific. In 2004 Sandberg presented the high-profi le album Volume Freak. In later years, he’s been more lowkey. Still, Sandberg was responsible for the deep house Francois Dubois. And he’s had a jazz project, Chaser. However, Sandberg is generating a huge buzz with his latest venture, Outpost Recordings. And he’s produced another techno – or, ahem, emo-techno – anthem in Italoca. Sandberg is thrilled by the response to Outpost, joking that he’s had “more comebacks than John Travolta”.

And Sandberg is going back to his roots. He’s rediscovering the joys of spinning vinyl, despite being a digital DJ for nearly a decade. “I’m really falling in love with vinyl again, funnily enough – and the physicality of it.” At Panorama, Sandberg got a kick out of a drunk patron messing with his record. “I like the fact that anything can go wrong when you’re playing vinyl, so you can have that kind of edginess to it,” he laughs. Sandberg will now play vinyl regularly, although he st ill appreciates the “freedom” afforded by digital technology. Indeed, Sandberg, who managed a record store for several years, discerns a renewed global interest in vinyl, including among young consumers. Outpost, he confi rms, is pressing vinyl. That said, Sandberg is unsure how much vinyl he’ll lug all the way down to Aust ralia on his return tour. “Maybe it’s time to bite the bullet and just do it. It’s not about convenience, really, is it? Th is whole generation is built on convenience. Maybe it’s time to remember the old days...”

WHO: Funk D’Void WHERE & WHEN: Deeper Sounds at Civic (Sydney) Friday 5 November,

Blow Your Own Way at New Guernica (Melbourne) Saturday 6 November, Subtrakt at Barsoma (Brisbane) Sunday 7 November




Just in Timberlake has hinted that he’s quitting music – or, at least, he’ll no longer release albums. It’s all about act ing for him. Music gave The Social Network actor fame – and, in later years, credibility – but now he’s apparently set his sights on an Oscar. It’s very Andre 3000. More committed to music is hot newcomer Bruno Mars, although he’s not as edgy as JT, circa FutureSex/LoveSounds. Do you miss Babyface’s brand of 90s R&B and crave ‘proper’ songs? Then Mars (aka Peter Hernandez) delivers with his debut, Doo-Wops & Hooligans. Imagine if Robin Th icke had come up through the American Idol ranks. Yup, Doo-Wops is that mainst ream. The Hawaiian multi-inst rumentalist had already established himself as a songwriter/ producer (and cameo artiste) before blowing up with the beat-ballad Just The Way You Are. Hernandez has had a hand in hits from Flo Rida (Right Round), BoB (Nothin’ On You) and Travie McCoy (Billionaire). Indeed, he’s also a member of The Smeezingtons product ion team. Very early, Hernandez signed to Motown, but it didn’t work out. Hernandez specialises in traditional soul pop yet st rays into reggae and rock (he has Puerto Rican and Filipino heritage). Grenade is the kind of overblown ballad Ryan Tedder has trademarked – lite emo. The best of the reggae tunes is Liquor Store Blues with Damian Marley. The engaging Runaway Baby might be rockabilly performed by Michael Jackson. (Hernandez has a not-so-secret past as a junior Elvis impersonator – check out the fl ick Honeymoon In Vegas!) The problem with Doo-Wops? Hernandez plays it super safe. He’s a bit... Coldplay. It’s a good thing that he has a sweetly husky voice as otherwise Doo-Wops would be too slick. Besides being a top melodist, Hernandez is an unabashed romantic – less thugged-up than huggable – and, even in Akon’s universe, that has its place. Hernandez has personality, too, his good humour evident on the ska The Lazy Song, one of the numbers critics compare to Jason Mraz. Doo-Wops concludes with a posse-cut in The Other Side, Hernandez joined by BoB and Cee Lo Green. At any rate, DooWops is an album that will sit nicely alongside Stan Walker’s From The Inside Out and Guy Sebast ian’s st uff. As for OG Flavas? We’re holding out for Green’s The Lady Killer...


The Tech Underground with NHJ & NIC Spring sucks, so pucker up and get busy! First ly, another scene report from our Berlin correspondent... Toups has been once again maxi-raiding the ‘minimal wave’ resurgence, with a blinding show last weekend from No More! Famous way back in the deutsche for the track Suicide Commando, this duo owned with some bizarre technology, Nick Cave-like stage antics and some killer cuts. Less famous Brits Oppenheimer Analysis hit King Kong club last Thursday, and unfortunately showed as much as anything why they remained less famous. Endearing in a wannabe Pet Shop Boys way, they reeled off that favourite of m-wave doyens The Devil’s Dancers and numerous nonhits like Science, Surveillance and Washington, the pixie like Oppenheimer cavorting and gest uring like a devil’s dancer himself. In contrast, Einst urzende Neubauten’s sold out stadium indust rial show was... sedate. Definitely more of a ‘performance’ than an expression, applause is due for their way out buildst ruments, but tears for the complete lack of chaos. Neubauten that a nan could love... Meanwhile, in the antipodes we got to see Addison Groove. The former’s dubstep-juke hybrid has been getting hype on the blogs, with even ex-breaks DJs catching on. Having missed the fi rst show the best we saw at the sparsely attended encore was UK two-step techno – not bad, but not livin’ the dream. So what is the dream? Check recent Planet Mu Footwork releases for a contemporary but more raw take on a sound that has evolved from the home of Dance Mania, crazy triplet rhythms, autist ic Fruity Loops sampling – we can finally play it off vinyl. Some more releases to watch for this month are Clause Four’s Be The One on Modern Soul – sampled elect ro boogie soul with a touch of the Detroit hump. We wrote about Lone’s Pineapple Crush in the last SMD and already his Emerald Fantasy Tracks album is about to be released. Bright techno and house with a touch of Aphex, early rave and Detroit, classic 707 and 909 drums and some freaky synths make it perfect for summer dancefloors. For your tightpant moods, Krautrock legend Dominik Von Sender’s collaboration with exMelbourne duo Hey Convict! has finally hit the shelves, so check out on the Golf Channel label...




he Parisian dance scene has for many years delivered delightful sounds, from Dimitri’s carefree disco house to Ed Banger’s post Daft Punk bleeped-out elect ro madness. Lately the name on everybody’s lips has been French Fries, everybody including superstars like A-Trak, Diplo, Sinden and Calvin Harris – all of whom have gone crazy for his track Senta. Barely 18 years old, French Fries is Canzani Valentino who started DJing and producing at just 14. It is something he was probably born to do. “My father is a sound engineer so I grew up in a st udio. I started to produce before DJing,” Valentino advises. “I was always producing music, rap, dancehall and st uff like that. It was Tchiky Al Dente the resident DJ at Favela Chic who asked me to burn some CDs and go to the club with him.” As it turned out Mr Al Dente threw French Fries in the deep end on the wheels of steel. “I went to the club with an old school rap select ion, he just said me ‘here’s play, here’s cue’ and after that I became resident DJ there for three years.” With just two massive tunes (Senta and Predator) and a plethora of remixes to his name, Valentino is surprised by the massive success he is currently enjoying. “I’m really happy to see all my favorite DJs playing my tune. I’m totally surprised, I mean Senta was a B-side. Everybody thought that Predador was the hit.” The success of Senta of course lies in its joyous fusion of baile funk, dancehall, dubstep and many other dance st yles to produce a fresh and exciting sound. “My tracks are always a mix of st yles. House, UK funky, UK garage, baile funk, guarachero, grime. I’m obsessed with the product ion technique, I can work four hours on a snare but I try to keep a ghetto vibe. My new project is completely different, but it’s kind of secret for the moment.” Valentino is currently releasing his material on a label called YounGunz, which features a diverse but exciting new generation of upcoming French dance acts. So does he see YounGunz as the label that will step it up to provide a post Ed Banges sound. “I don’t think so. Everybody asks this quest ion but I think it’s not the case because YounGunz always want to discover a new kind of ‘sound’.”

It seems that YounGunZ have been exploring fertile ground and French Fries explains that, “there is not one YounGunz sound, there are many YounGunz sounds. There are so many upcoming DJs that are worth checking out right now, – Bambounou, Sam Tiba, Canblaster, Manaré, Pelican Fly, Jay Weed.” On all fronts French Fries seems to keep very busy. Fans can expect a new EP in the next month and he has just finished remixes for The Touch, Wildlife, Daniel Haaksman and an Amerie remix for Brodinski. Alongside favela funk fi xated artists like DJ Sandrinho, Boo, Kazey and Bulldog he has help to put together a musical collect ive called ClekClekBoom which will soon start its own label. To date Valentino’s music has been released in digital format and he seems super keen to get some vinyl releases happening. On top of all this he is headed to our shores this week and is determined to rock the floor while he’s here. “It’s my fi rst time in Aust ralia! It will be massive!”

WHO: French Fries WHERE & WHEN: The Espy (Melbourne) Saturday 6 November,

Brand Spank’d at Family (Brisbane) Saturday 13 November







ustralia’s first hip hop superstars, Hilltop Hoods, came st raight outta Adelaide. Now Pagen Elypsis, lauded by the Hoods’ Suffa, are hoping to follow them. The South Australian collective of MCs – Prime, Purpose, Pohetikut, Motive and Kadowg – have just dropped their debut album, One Way Ticket. But hip hop heads should catch them while they can – Pagen Elypsis’ members, especially Purpose, are juggling commitments to the crew with solo endeavours. Indeed, Pagen Elypsis might be Adelaide’s Wu-Tang Clan. Prime, aka Tom Engelhardt, even touts them as a collect ive over a group. “When there’s five people, you’ve gotta allow for differences,” he says. “A ‘group’ kinda feels like you’re walking in the same direct ion, whereas a ‘collect ive’ is people working together, and making music together, but they don’t necessarily always share the same ideas.” Pagen Elypsis have been extant since 2006, with Engelhardt the last to join. The posse circulated a mixtape, 007 Mixtape, in 2007 yet dispersed soon after. Engelhardt was among those in the fold keen to est ablish a solo career. “It wasn’t always about, like, ‘okay, let’s take a break’. It just happened while we were doing other things. That three-year break was also just us building the foundations to make all this other st uff possible. A lot of the music was act ually finished a long time before the album came out. It was just building that platform to get it released.” Pagen Elypsis finally returned with the 2010 mixtape, mixed by Battlehoggs DJs Kansel and Snair, in preparation for One Way Ticket, which takes in joints like One Hit Away, on their own Double Or Nothing Records, when they could have knocked on Obese’s door. Engelhardt attributes this to Pagen Elypsis’ indie ethos – a very Adelaide ethos – but they also harbour their own label ambitions. “For the guys who are part of the label aspect of it, they’ve got bigger plans than just one album. They saw this album as basically step one in a multifaceted plan, as opposed to just making one album and seeing what could happen with it.” So what did Pagen Elypsis want to achieve with their debut? “We’d been doing shows around Adelaide, and we were building a bit of a reputation, but we st ill didn’t have that album to solidify what we’d been doing – and

that’s what we have now. We see it as step one – I don’t think this is the end for Pagen Elypsis at all – but it needed to happen in a proper way to validate what we’ve been doing for all this time. That ignores the musical aspect of it, I guess, but, the album itself, that’s why it exists – because we had to get it done finally to give Pagen Elypsis some sort of finality and meaning, rather than us just being an up-and-coming hip hop crew.” The collect ive descend on Revolver this weekend to plug One Way Ticket, and Engelhardt is amped. “We’ve done shows for a long time, so we know what we’re doing, but we’ve never put this much work into the preparation of our shows before. We’ve been rehearsing a lot, we’ve given it a lot more thought, we’re doing things real different than we’ve done before... It really is tailored to the songs, rather than us just getting up and doing the five bangers off the album.

WHO: Pagen Elypsis WHAT: One Way Ticket (Double Or Nothing Records) WHERE & WHEN: Revolver Saturday 6 November


We’ll kick it off with news that some fans have been waiting for since the turn of the century. After a decade of guest spots, Melbourne veteran Bigfoot is finally ready to drop a solo album. Ten years after A Taste Of Things To Come (that’s right, I remember that far back), Bigfoot will drop Giant Steps through Broken Tooth/Obese. Guest spots from Bias B, Brothers Stoney, Brad Strut and Fletchrock will give listeners a classic Aust ralian hip hop vibe, and beats from Bigfoot and Heata mean this one is gonna bang. Giant Steps drops Friday 12 November. When a press release for an event says “just rock up and dance 6pm til late”, it’s a pretty safe bet that me and my rhythm-deprived feet will not be attending. But if this is your thing, you’ll wanna be at The Push’s latest all-ages drug and alcohol-free event City Breaks. Th is will be the second instalment of City Breaks, which aims to bring together the diverse hip hop and breakdance crews of Melbourne who are currently doing impromptu performances in public spaces throughout the CBD. City Breaks is free to both participants and spectators, so even guys who could never even uprock (ie me) can roll down and enjoy the show. Th is one happens Friday 5 November at Signal, Flinders Walk Northbank, which is behind Flinders St Station towards Sandridge Bridge. Get there from 6pm onwards. Quick plug for Wax Museum, who are doing the monthly jam thing again on Saturday 6 November. The monthly jam is once again happening at Croft, where you’ll see Mexi, Paypercutts, Lotek and Jellyfish spin alongside residents Aux-1, Baby Lotion, Mixa, Geezey and Inkswel. Entry is free before 10pm! So before we finish up here for another week, don’t forget Prophet Rayza’s new joint 6 Books is ready to drop. The Brisbane MC has followed up The Spits And Pieces mixtape with a new EP, featuring product ion from Daneja (New York), Dats (The Optimen), Tommy Illfigga, DJ Butcher and Prophet Rayza himself. Plus on the mic, Rayza gets assists from Tommy Illfigga, Adverse and Hua. Cop 6 Books when it drops through Born Fresh Records on Friday 12 November. In the meantime you can also check an EP preview on YouTube. Search Prophet Rayza.




VARIOUS/STEPHANE POMPOUGNAC Hôtel Costes 14 VARIOUS/TENSNAKE Tensnake In The House (Defected/Stomp)

Every year or so, house music throws up an anthem of undeniable genius. Dennis Ferrer’s Hey Hey aside, 2010 has been owned by Tensnake’s Coma Cat. Challenging what an ‘anthem’ should be, Coma Cat is almost completely vocal-less, instead relying on that unforgettable keyboard melody and a healthy dollop of disco cheek. Fitting then that Defected should dust off their In The House series and ask the German producer/DJ to show us what else he has up his sleeve. According to Defected what he has will bring the sound of the 90s back to the dancefloor; yet this assertion is somewhat misleading as the fi rst of two mixes here is very much rooted in the disco-boogie sound of the early 80s, full of walking pace disco beats, funky guitars and dubwise spaciousness. Not surprisingly highlights come from Prins Thomas, his remixes of both Al Usher’s Lullaby For Robert and The Chemical Brothers’ Swoon soaring off brilliant guitar lines. Elsewhere Carol Williams’ Cant Get Away, a 1982 original, fits perfect ly, Crazy P’s remix of Lovebirds recalls the work of Chuck Love while Kathy Diamond’s vocals on Kaine’s Love Saves The Day are to die for. The second disc is the one st irring up all the interest, Tensnake wonderfully conjuring the feel of the underground house sound of the nineties, of DJs like Tenaglia, Knuckles, Farley and Heller, Sneak and Junior Vasquez, NY clubs like Twilo and Tunnel and the earliest Minist ry Of Sound Sessions compilations. His bringing back of those unintelligible vocal loops and fi ltered disco cut-ups is inspired and blends splendidly with Coma Cat. The set finishes back in the eighties with Armando’s acid and an all time hands-inthe-air anthem in Phase II’s Reachin’. Past and the present coming together to give us all hope for the future. DARREN COLLINS

(One World/Inertia)

It’s common pract ice for hotels around the world to skip the thirteenth floor, often by simply renaming it the fourteenth. It may seem silly to some but not to the curators of Paris’ famed Hôtel Costes, who have now gone on to apply their superst itions to their music compilation series, going st raight from volume twelve to volume fourteen. By the time a compilation reaches its thirteenth edition its luck (and relevance) may well have worn out yet the Hôtel Costes series keeps pushing along with more luxurious, jet-setting, designer beats from resident selector Stéphane Pompougnac. While musically little has changed along the journey, the niche the Hôtel Costes series occupies in the market (and its

Chase Cut To The Chase EP

(Independent) Adelaide wordsmith Chase Britton is a multiple MC battle champ who has been on the grind since 2002 and the new ninetrack EP Cut To The Chase is wast ing no time in affi rming his place. Boxing Without Gloves and Insanity sees Chase pitch his rhyme rate and mind state to set a rapid flow for the EP. The underlying piano loops bring out the consciousness of the rhymes and works well. And Untouchable shows how the rapper holds down battle supremacy. The fi rst track from well-known producer J-Squared The Real Deal features Dribbles and Lariken and C-Haze smokes one to Interrupted with J-Squared again, who stamps a fantast ic swing set in the middle of this jam directed toward those who politely interrupted the MC’s life. But on third J-Squared joint he leaves Living The Dream too stacked in beats which drown out what the MC has to say. Closing in on What Can I Say and back to the basic beat reels and vintage loops of Rotten Produce, Chase’s mind reads clearly as he raps again about the inspired-high he seems always in search of. RIP NICHOLSON

sumptuous packaging) continues to guarantee sales. Th is time around it’s more of the same as laidback jazzy Frenchness rubs shoulders with elitist deep house and bourgie boom-bap. Th is one kicks off on the right note with some vaguely Latin and reggae-tinged house remixed by Gilles Peterson, a sensationally dubby, atmospheric Kotey remix of Tosca and a heavyweight, deep Latin house collaboration between Boozoo Bajou and Afterlife. Switching it up, Duptribe and Ben Cocks bring folksy happiness, Tontelas and Ski make like a hip hop Barry White while Dreadzone’s American Dread is perplexingly zany dancehall-Irish jig fusion. Flight Facilities’ Crave You blends a cutesy vocal from Giselle with a now-you-see-it-now-youdon’t elect ro bassline, while the pretty deep house melodies of Quarion’s I Found You On Facebook drags us onto the dancefloor. DARREN COLLINS


(Ninja Tune/Inertia) Brendan Angelides, aka Eskmo, has his fingers in all the best pies, like Warp Records, Planet Mu and most recently Ninja Tune. His Hypercolour single made a splash in 2009 with its undulating bass and twinkling synths, and 2010 sees his return in the form of a selftitled debut. First single Cloudlight introduces listeners to the characterist ic Eskmo sound of crispy textured basslines. The vocals and tempo of We Got More manage to make the track sound like elect ronic blues, while the swinging bouncing bassline forces a head nod on The Melody with clever layered breakdowns throughout. Unfortunately it’s easy to become lost in the ambient reverb of tracks like You Go, I See That and Communication, which come across as fi ller to bulk out Eskmo’s work into an LP. A shorter album could’ve resulted in a much tighter package and his stand out work such as We Have Invisible Friends (Washed Mix) wouldn’t get lost in the crowd. Although there are dull points on this debut, Eskmo is st ill at the forefront of quality elect ronic producers. JO LETTENMAIER




(Warp/Inertia) It feels like a long time since !!!’s classic punkfunk anthem Me and Giuliani Down by the Schoolyard, and I suspect they agree: with its more hip hop-derived breaks, lush production and slyly murmured vocals (plus a great guitar solo), AM/FM feels more like a late eighties/ early nineties summer of love affair.

VARIOUS/DONNI 1 Ku De Ta 4 (Level Two/Shock) The past few years have seen Donni 1 complete his transformation from Melbourne house hero to king of the resorts, along the way making the Ku De Ta series, named after the Bali resort/hotel/bar where he is resident DJ and creative director, one of the best downtempo compilations on the market. Always st unningly presented, Ku De Ta, to this point, has contained a chilled mix and a nice, yet ultimately superfluous, DVD. For the fourth edition Ku De Ta have upped the ante, especially for fans of Donni 1’s Freakazoid club ten years or so back, replacing the DVD with a bonus house mix from the man. The regular chillout blend starts brilliantly with the lazy acoust ic guitars of the Gram’ma Funk (Groove Armada’s I See You Baby)-voiced

FLATWOUND Super Space Dope Funk

(One World Music) The funk has been noticeably absent from dance music sensibilities over the past five years, but Sydney duo Flatwound seem intent on rect ifying the imbalance – singlehandedly if required. The unlikely partnership of hip hop DJ/producer Jack Prest and veteran multi-inst rumentalist CJ Soulman has found common ground in the place where house and disco meet, and Super Space Dope Funk is a mission statement for a record which pulses with funkadelic bassline grooves. Expressive Moog leads prepare you for liftoff as Soulman’s simple bass loop powers Moon Spread, Again rolls on and on with the sort of relentless energy that wouldn’t be out of place in a Desyn Masiello funk-fest circa 2005 while Space Station Africa brings drums, Rhodes and nonsensical vocal loops to the fore. It’s all carefully geared towards the dancefloor, be it early doors or peaktime, but there’s a musicality to the music of Flatwound which lifts it above mere dancefloor fodder – an obvious touchstone is Pnau’s Sambanova, and there’s no reason Flatwound can’t scale similar heights if punters catch on to what the ‘heads’ already know. KRIS SWALES


Universal Unfolding, drum’n’bass-tinged jazz of Tape Five, J Boogie’s sublime west coast hip hop-jazz-soul and Bella Donna’s fusing of Martin Luther King and Kool & The Gang’s Summer Madness. From here though Donni throws in some surprises and takes some risks with Purple Avenue’s faithful cover of Estelle and Kanye’s American Boy, the somewhat jolting house beats of Tosca and horribly out-of-place classicalmeets-sitar of local Bali artist Saharadja. The rest, thankfully, is of a quality that stands up to previous editions. The house mix stays true to Donni’s trademark st yle as he blends 15 years of soulful, jazzy deep house from the likes of Masters At Work, E-Smoove, Jon Cutler, Jay-J, Joey Negro and the Blaze classic Breathe. It’s a mix that will appeal more to the old school Freakazoid crew than kids looking for cheap ‘bang’. DARREN COLLINS

RUSTIE Sunburst EP (Warp/Inertia)

Born from the same fertile Glasgow scene as leftfield hip hop wunderkind Ross Birchard (aka Hudson Mohawke), Rust ie’s Warp debut EP Sunburst act ually acts as more of a counterpoint to Birchard’s candy-flavoured futurebeat cacophony than a companion piece. The key word for the release is ‘brevity’ – delivering five tracks in less than 14 minutes, Sunburst is less about overwhelming the listener with colour and more about showcasing Rust ie’s finesse and musicality as a producer. Dragonfly is a prime example. A simple grime rhythm carefully decorated with swelling synths, chopped-up vocals, barely articulated glitch melodies and an unrelenting fuzzed-out bassline, Dragonfly only comprises a handful of ideas but Rust ie nevertheless weaves the product ion’s disparate elements into a dynamic and memorable piece. There is a rampant eclect icism throughout the release that can’t help but recall Mohawke’s frenetic work (Beast Nite, for example, features chiptune melodies, elect ric guitar leads and a st ring sect ion) but, for the most part, Sunburst finds Rust ie carefully cultivating his own compelling voice as an artist. MATT O’NEILL


(Warp/Inertia) Of course Seefeel’s decade-plus absence makes their return even more startling: on Faults they sound startlingly modern, eschewing both the blissed out digital shoegazer of their early work and the eerie IDM of the mid-90s in favour of nervous post-dubstep rhythms and disorienting guitar feedback. The hypnotic, sensuous thump of the title track and its twin Folds are the picks of this EP.


Deadmau5 seems increasingly discontent with being relegated to the prog-trance niche, and Animal Rights is a fairly naked attempt to get some love from more fashionable types, though I wonder whether sounding like a dirty French house anthem from about 2000 is really a fashion worth adopting ten years on. TIM FINNEY

3DPLAYLIST 3D 1. Crooks & Lovers MOUNT KIMBIE 2. Fabric 55 SHACKLETON 3. Tracers (Deadbeat Remix) SCUBA 4. ZZafrika ZZT 5. Faithful WORLD’S END PRESS 6. Ushuaia Day MOTORCITYSOUL 7. Derezzed DAFT PUNK 8. Rave Review SKISM 9. Abst rakt Fusion ZEPHYR TIMBRE 10. African Drug BOB HOLROYD




t’s been ten years at least since the five original members of Bone Thugs-NHarmony have assembled on one album, and accompanying Uni5: The World’s Enemy is an Aust ralia tour for Krayzie, Layzie, Wish, Bizzy and Flesh-N-Bone. With the braids cut off and weed off the menu in 2010, the Cleveland mainstays of harmonised hip hop are back together for now. “We’ve got a few issues but hopefully everything will work out and we can get on this tour,” Henderson says reassuringly of the continuation of the Bone Thugs saga. “Everything is cool man, we taking it one day at a time. We tryin’ to get everything together, it’s a very positive vibe going on at the moment.” Last time Bone Thugs appeared in Aust ralia they were saddled amidst a cavalcade of West Coast juggernauts in Ice Cube, WC, Snoop Dogg and Tha Dogg Pound, but only three members of the group were involved. Both Bizzy Bone and Flesh-N-Bone have been through tumultuous times of late with Flesh having been incarcerated for a lengthy term and Bizzy almost preferring to stay disconnected, insist ing that he remain a guest to the skeletal core of Bone Thugs-N-Harmony. The groups dynamic is st ill on tender hooks, but at this stage the fab five should unite before us on various stages across the nation this month. One of the fi rst to break out of the US Midwest, Bone Thugs-N-Harmony are pioneers of a unique st yle of rapid-fi re raps delivered through harmonised vocals, known as the “Cleveland Sound”. They formed in 1991 and saw their fi rst underground album Faces Of Death released two years later along with a recording contract with Eazy-E’s Ruthless Records. By ‘94 their debut st udio EP Creepin’ On Ah Come Up was followed sharply by their highest-selling st udio LP, 1995’s E 1999 Eternal containing their smash hit Grammyawarded single, Crossroads. The entire project

was produced by label mate and sixth member of the crew DJ U-Neek who continued to work their ‘97 album The Art Of War, 2000’s BTNHResurrection and has become the catalyst to the Bone Thugs formula made famous at Ruthless Records in the aftermath of NWA. After the 2007 album Strength & Loyalty (under Swizz Beats’ direct ion) the Thugs moved out of an uncomfortable situation within Interscope Records and headed up their own imprint, Bone ThugsN-Harmony Worldwide. They reverted back to working with long time cohorts DJ U-Neek and LT Hutton to season it and as Henderson explains, it was an important move to cook up the new album with DJ U-Neek for those original beats sliced right off the thuggish-ruggish bone. “When we got started on this we always had the idea of involving Neek on the project. And that’s exact ly what we did. We had other producers on the album as well but we definitely wanted to make sure we that U-Neek vibe and flavour back in there as well.” But despite numerous reviews heralding the MCs for maintaining their unfaltering flow on this album, Krayzie admits it was U-Neek’s standard of beat-making that wasn’t up to par. “We wanted to bring U-Neek into the fray, but I told him his product ion isn’t what it used to be back in the day,” Henderson admits, “we had a lot of songs that didn’t go on the album and got lost in the fold of things. We plan on putting those songs out like, on a lost tape, lost fi les kinda album but we definitely wanna get them out.” Also a contributing factor to the album sliding for under 45,000 units sold inside it’s fi rst week was fi fth Bone Thug Bizzy Bone, who seemed intent on his own divine quest throughout the LP. “Honest ly, we all find that to be st range. We even try to talk to him about st icking to the subject of the songs but like, a lot of things that he’s going through right now, no-one can really get into his mind right now. I just think we’re fortunate enough to get him in the st udio and record with him for the album.” After several delays to the album’s release, in May their ninth LP Uni5: The World’s Enemy dropped and against all odds was awarded four out of five stars by XXL Magazine. It brings Bone Thugs-NHarmony back into cohesion and down under for what will be a landmark occasion, five friends who have always seen themselves standing alone against the world on one stage together. “We always thought we were going against the grain in our careers,” Henderson answers in reference to the meaning behind the The World’s Enemy title. “We’re always the outcasts and the outlaws of the industry. We always felt that we had to show that we can still do it after all these years.” And with 30 million records sold, they are building a legacy of over 17 years now – and according to Krayzie Bone, it st ill feels special. “Oh yeah, it’s st ill a wonderful thing. We st ill and will always love making music. We’re true lovers of music, you know being able to get back in the st udio and do what we do together, it’s a wonderful thing. We can st ill make a statement and we feel our presence is st ill felt in the game today.” WHO: Bone Thugs-N-Harmony WHAT: Uni5: The World’s Enemy (Warner) WHERE & WHEN: CBD (Newcast le) Wednesday 10 November, The Gaelic (Sydney) Thursday 11

November, Southern Cross Events Centre (Canberra) Friday 12 November, The Espy (Melbourne) Saturday 13 November, The Grand Hotel (Wollongong) Sunday 14 November, The Gaelic (Sydney) Sunday 21 November, The Espy (Melbourne) Monday 22 November






don’t wanna release other peoples music. Well, not at the moment, maybe I’m going to eat my words, but right now I don’t want to.” Sound like the head of a newly established record label? Perhaps it’s a st range notion in a modern, growth-obsessed capitalist economy, but at least part of the business model for Vadim Peare’s recently started Organically Grown Sounds label is just that. The Russian-born, London-raised producer better known as DJ Vadim is content to grow his already considerable discography alone, having learnt from his fi rst ill-fated foray into the world of label management with Jazz Fudge that it’s easier to concentrate on your own output than deal with the often misguided expectations of others. “It’s just everyone has different expectations for their music and one of the worst things in the world is like, you sign people to a label and suddenly people think, ‘Oh my god, you’re the label somehow you’re meant to make them huge mega-stars’.” With an 11 year partnership with Ninja Tune, a brief st int in A&R and, more recently, a licence agreement with BBE, it’s fair to say that Peare is familiar with the traps of the music indust ry. And despite a desire not to get himself too entangled with the day to day management of other artists, he’s more than prepared to look after his own affairs. “I started with Jazz Fudge and I’m going back to being on my own label,” says Peare, only just audible down a particularly poor phone line from London. “In 2010 it just makes economic sense. I know how the system works – I know the PR companies, I know the promotional agencies, the DJs, the radio stations, blah blah blah – so I don’t need to pay or give someone 50 percent of my profits for them to do something that I can really do myself.” In an indust ry that’s so enamoured with both hype and hyperbole, Peare’s honest y and forthrightness is as refreshing as the music he makes. Having first made a name for himself as a talented and prolific member of the Ninja Tune stable in the late 90s, the tireless producer, performer and collaborator has gone on to cement himself as a true icon of the underground hip hop scene in the UK. And while his rise was initially associated with Ninja Tune, looking back, he’s clearly not prepared to perpetuate some of the myths that surround the London label. “I’m not going to describe Ninja Tune as a family and st uff like that,” Gurov offers when quest ioned about his relationship Ninja Tune, who’ve recently celebrated their 20th anniversary. “I never felt like it was a family, even though people put this myst ical kind of relationship on it. I know some of the artists there and I like some of the music. I know they have a role to play in, I suppose, underground music, and they have put forward some great music, but it’s not like I’m standing there awest ruck going, ‘Oh my God, it’s the Jesus of music’ – it’s one of many labels. I mean I don’t want to belittle what they’ve done, but I don’t want to say it’s like the parting of the sea or something.”


Perhaps it’s the nature of the diminutive Londoner not to get too caught up in nostalgia, but considering the label has played host to some of his best work over the years, it’s a particularly candid response. Regardless, since he parted ways with Ninja Tune in 2006 he’s never stopped growing the Vadim sound, and has subsequently released some of his best work. 2007’s Soundcatcher and 2009’s U Can’t Lurn Imaginashun are both masterful lessons in moulding an overwhelming range of influences into a coherent album. Both combine snatches of funk, reggae, disco, and soul – all tied together by Vadim’s well sharpened beat-making intuitions. As such, Vadim will have plenty of musical ammo to draw from when he hits Aust ralia this week, and will no doubt be fi lling at least part of his set with new material. While he admits he’s got screeds of unfinished solo tracks sitting on his hard drive at home, fans are bound to be exposed to some of his new collaborative work with US MC Pugs Atomz and UK neo-soul singer Sabira Jade. The Elect ric, as the group is called, is the fi rst scheduled release on Organically Grown Sounds. At face value it’s a similar combination to his short-lived but well received hip hop-soul combo, Oneself, but Vadim is adamant The Elect ric has a different sound and came together in quite a different way. “Yes it is true that there are connotations to Oneself, but for me this is a bit different, we really did make The Elect ric album on the road – the album’s finished, that’s coming out next year – but it felt very different to the way we created Oneself.” Having successfully supported Fat Freddy’s Drop throughout Europe this year, The Elect ric are well on their way to gaining a wider audience themselves, but for now, Aust ralian audiences will have to remain content with Vadim’s eclect ic and dynamic solo set, something he says is influenced primarily by the mood on the night. He’s certainly not averse to an encore, either. “If there’s a good vibe I’ll come back on, it’s not like – music has never been for me like, hey it’s an hour contract I get paid $10,000 and I’m not going to play a single second over my hour, you know what I mean? It’s not like that. If there’s a good vibe in the club and the people really want more, I’m gonna come back and do more.” WHO: DJ Vadim WHERE & WHEN: The Espy (Melbourne) Friday 5 November, Tone (Sydney) Saturday 6 November



TOM EVANS WHERE AND WHEN WAS YOUR FIRST SET? “Was in 2005 at a local night club in Brighton called Mint Bar. It’s not there anymore but I think it had the worst reputation in Melbourne.” WHATS YOUR FAVOURITE ALL TIME 12”? “‘Joris Voorn – Blank or Francois Dubois – I Try, can’t choose.” WHO ARE YOUR FAVOURITE DJS? “Locally I’d say Gavin Keitel, Dave Pham and Mike Callander. Nick Jones too he’s my best mate but I really admire his drive for what he does.” FAVOURITE CLUB TO PLAY? “Q Bar would slot in at the top of the list. Never a dull moment in that joint and great bunch of people. Closely followed by Onesixone and Brown Alley.” WHATS YOUR BEST ALL TIME GIG? “Any Likes Of You event is a massive highlight. Any night at Q Bar is also very eventful.” WHAT’S THE WORST REQUEST YOU’VE GOT?


“Miley Cyrus would have to be up there. I was playing at LaLaLand in Byron Bay earlier in the year and a girl asked me if could turn the music off so she could make a speech for her friends birthday. I politely declined then she asked me if could at least play Happy Birthday for her.” WHAT DO YOUR PARENTS THINK OF WHAT YOU DO? “Mum is my best friend so she is very supportive. It took her a while to warm to it, she understands it all though. Dad doesn’t understand why I bother, as long as I watch the V8 Supercars with him he’s stoked.” WHAT DOES THE LOCAL CLUB SCENE NEED MOST. “Less Politics. Less Grudges. More party goers.” WHAT GIGS HAVE YOU GOT COMING UP? “Qbar Thursdays and Saturdays, Onesixone Fridays and Saturdays, Circus Saturdays and Sundays, The Likes Of You Sunday Summer Series at Revolver, The Likes Of You at Brown Alley Friday 10 December, Summadayze at Sidney Myer Music Bowl Saturday 1 January, Future Music Fest ival at Flemington Racecourse Sunday 13 March.” PHOTO BY KANE HIBBERD

DJ STIFFY’S WIDE WORLD OF SHORTS STRONG A$ MAKES PEOPLE HIGHER, MORE OFTEN The surging Aust ralian dollar has had a big impact on Aust ralia’s imported recreational drug prices, pushing prices to record lows. Street prices of European-manufact ured ecstasy, Mexican cocaine and South-East Asian heroin have hit rock bottom. Investors are currently picking up large quantities to hedge against inflation risks. Jenny Cum (not her real name), a commodities trader with Nasal Capital (not its real name), said that holding capital in recreational drugs was proving to be the safe-haven many investors have been looking for. “The American dollar is currently suffering the market equivalent of triple penetration. The money shot is going to be some sort of financial bukkake. Putting it all in cocaine means that when the Aussie dollar finally tanks early next year, every idiot from the banking sector is going to be depressed and needing to get very high.” But it is consumers who are currently benefiting. Street brokers of the imports are offering incentive deals just to attract new customers, with mobile phone st yle plans of $600 of drugs per month for just $59. “I’ve been high for seven days in a row now,” says Ravey Davey (his real name), a principal at a leading Sydney private school. “It’s been boost ing my perceptions of the st udents. They all seem so much nicer. I no longer want to shoot myself on the way to work.” “Arrrmmmmmmazzzzsss,” says Ronald McDonald, a Footscray heroin user. “Ssssshmmmmj, ff ff ff rghhh, fuck you.” But there has been a downside. Local producers of methamphetamines who are usually subcontracted by bikie gangs to supply stove-top pharamaceuticals are feeling the pinch. They are unable to compete with cheaper imports and are considering lobbying the government for financial assistance. Bong and Rizla sales, generally a solid economic indicator for the domest ic marijuana market, have also tanked. “Th is community’s been decimated,” says Rainbow Dolphin Child of the peak body of Street Commodity Retailers in Nimbin. “There used to be about 120 to 150 cars a day looking for purchases. Now we’re lucky to see two. Generally they’re already high and are just tyre kicking to see what’s out there.” While these are buoyant times, pundits are warning people not to get carried away. “It’s easy to put all your money into coke and think all your Christ mases will come at around Christ mas time, and before you know it you’ve gone through an entire hedge fund at the office Christ mas party,” says Cum. “And basically you have to steal your way out of that. The legal implications there are just horrendous.”


1. Jopte JULES & MOSS 2. Riding the Edge (Camea Acid Remix) AFTERNOON COFFEE BOYS 3. Let The World Spin GRINSER 4. Underground Railroad SASCHA DIVE 5. Bells And Spells PHIL KIERAN 6. Voxplosion B JPLS 7. The Bleep Factory MATT JOHN 8. Crude PATRICK SIECH 9. Stomp That NICOLE MOUDABER 10. Black Horse Down PAN-POT


It was almost too easy to select this week’s recipient, but shining a light on Daft Punk’s Derezzed from Tron: Legacy isn’t (entirely) rampant fanboyism – it happens to be the best piece of music they’ve delivered in a long, long time. The fact that it’s soundtracking some unbelieveable special effcts trickery is an added bonus.






WHAT INSPIRED YOUR DJ NAME? “Mine, my father’s and grandfather’s names. Kind of a family thing.” IN A NUTSHELL, DESCRIBE WHAT YOU PLAY? “Mainly funky tech house. If it’s got lots of swing and groove, I’m into it. Have also been known to break out the odd dirty elect ro house set.” WHAT TRACK TURNS YOU ON RIGHT NOW? “Rainer Weichold – Tango for Noemi (Ramon Tapia Tango Bango Remix).” WHAT MADE YOU START DJING?


YOU’VE SEEN IN A NIGHTCLUB? “Not so much a night club, but an eccentric outback pub we have had a few parties at. Their outdoor stage is an ex-parade float of a giant mermaid. Fun times.” WHAT’S THE WORST BOOTLEG YOU’VE EVER HEARD? “Don’t really listen to bootlegs, barely enough time to listen to new legit tunes.”

“Helping run bush dance parties. Always enjoyed supporting grassroots DJs play and eventually gave it a shot myself.” WHAT’S THE WEIRDEST THING

THE MOST IDIOTIC REQUEST YOU’VE HAD AS A DJ? “Do you have anything that’s not techno?”

WHERE & WHEN: Dorothy’s Friends at The Peter Lalor Stables Friday 19 November, Unstable Sounds at The Saloon Bar Saturday 21 November, Unstable Sounds at Loop Saturday 27 November

KISS FM CHART 1. Universal Cryout MATA & MUST 2. Dark Matters AGENT 86 3. Get Busy (Club Mix) DARREN GLEN 4. Holidays (Sam Sparro & Jesse Rogg Mix) MIAMI HORROR 5. She DUOSSEUDO

3D AT CBD NIGHTCLUB THE IDEA BEHIND OUR NIGHT IS… “To keep the underground rave scene alive!”

WE’LL BE PIMPING THE SOUNDS OF… “Everything from trance to hardcore, trance, tech trance, hard trance, hard dance, psy trance, hard techno, hardst yle, hardcore!” THE TALENT WE’VE GOT LINED UP TO PLAY INCLUDES… “Scott Alert, Hellraiser, Soul-T, Master Kaos, St. Luke, Dr. Willis, M-Experience, JFX, X-Statik, Kid Dyl, Skeata, Gazmatron, Wr3ckless, Eustace, Kemikal Konjest ion, Chris X, De-Gen, and weekly local, interstate and international guests.” THE OTHER TRICKS UP OUR SLEEVE INCLUDE… “Open Decks Nights. Every week on level two we open the decks to Melbourne’s up and coming DJs to give them a chance be heard on a big system. Expect the unexpected with DJs playing everything from dubstep to indust rial hardcore.” CHECK OUT OUR NIGHT IF YOU’RE THE KIND OF KID WHO LIKES… “Party! 3D is renowned for its happy, friendly vibe. Come with an open mind and leave the attitude at home and you’re guaranteed to have a rockin’ night out! “

6. Th irst y KELDAMUZIK 7. Stardust JIMMY LE MAC 8. Day Into Night KATALYST 9. Promise Part 3 KOSHOWKO 10. Downtown Underground (Dublin Aunts Mix) DIRTY LAUNDRY

THE THING WE PROVIDE YOU CAN’T GET ANYWHERE ELSE IN TOWN IS… “Th ree levels of madness with trance, tech trance and hard trance on level one, open decks on level two with a mixture of all st yles and the harder st yles up on level three, 3D has something for everyone.” WHERE & WHEN: 3D at CBD Nightclub every Friday

COURT-SIDE Ranking very high on a list of people no one

would want to be right now is serial girlfriend basher Matthew Newton. The troubled actor faced court last week, slapped with an AVO by ex girlfriend Rachel Taylor for two unprovoked assaults that occurred in August of this year. Newton, who assaulted Taylor after proposing to her in Rome, pleaded guilty and agreed to a two year intervention order. Th is shocking behaviour has been the climax of Newton’s very public and rapid fall from grace in recent



times – but it is certainly not his fi rst. History seems to be repeating itself, as just four years ago Newton was charged with assaulting his then girlfriend – act ress Brooke Satchwell – who he reportedly punched in the head and attempted to gouge her eyes and face. Trashing hotels is another one of Newton’s past imes which he has also faced a number of charges for this year and last. While a role on Underbelly in 2009 and select ion as the host for Channel 7’s The X-Factor this year seemed to be promising developments for Newton, his inner demons and notorious temper seem to have gotten the better of him once again. Anger management anyone?




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SUSHI SNAPS 1 Damselfly 10 Year Birthday and Pop-Up Store Launch

3 Mama Said @ Circus

2 Kiss FM

4 SINthetic @ Abode



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CO. Stand And Deliver: DJ Petar Tolich. 9:30pm. Free before 11pm. LOUNGE Lounge Wednesdays: DJs PCP, Matty Radovich, Amy Matilda, Mahatia. 9pm. $5. LUCKY COQ Coq Roq!: DJs Lady Noir, Agent 86, Kiti, Mr Thom, Joybot. 9pm. MISS LIBERTINE FRONT ROOM Elements: MzRizk, Sizzle, Duchesz, Ghostsoul. 8pm. Free. MISS LIBERTINE BACK ROOM 6 Feet High and Rising: Julez, Dragonfly, Class A, Next Stop Automatic. 8pm. $5. NEW GUERNICA Fromage Disco. Free.

THURSDAY ALIA BAR Hoochie Mama: M.A.F.I.A. and Miss Beats. 10pm. Free. CO. Funhouse: Finlo White, Scotty E. 9:30pm. Free before 11pm. THE COMFORTABLE CHAIR Comfy Beats. 6pm. Free. EUREKA Muscles, Strange Talk, Th ieves Of Aon. 8pm. $12/ $7 pre-sale. FIRST FLOOR Ring The Alarm: Jesse I, DJ Major Krazy. 9pm. Free. FUSION Rhythm-Al-Ism: Damion De Silva, Funkmaster Rob, A-Style, K Dee, Simon Sez. 9:30pm. HOME HOUSE Jim Danza, Herbee & Guests. LOUNGE Paz,, Smile On Impact. 9pm. $5. LOOP Mood: Tuan Besar, Johan ELG . 9pm. Free. LUCKY COQ Free Range Funk: Who, Agent 86, Lewis CanCut. 7pm. MISS LIBERTINE FRONT ROOM Knee Deep: Louis McCoy, Luke Bruin, Mack the Knife. 8pm. Free. MISS LIBERTINE BACK ROOM Racket Experimental: Mark N, Spherix, JPS, Xian, Cloud Speaker, Netzair, John Nguyen, James Wright, We Emanate. 6:30pm. $5. NEW GUERNICA DJ Negativ Magick, Post Percy, Nu Balance, James Kanes. 10pm. Free. PRETTY PLEASE Spinderella, Anna Lunoe, M.A.F.I.A., CC:Disco, Larrie. 9pm. $15 / $20. REVOLVER The Villas with Clowns, Cold Hiker. 8pm. $5. THE TOFF Love Story: 1928, Sleeves, Tranter, Megawuoti, Supremes, TDAH. 11:30pm. Free.

FRIDAY 3D Master Kaos, Scott Alert, St Luke vs JFX, Kid Dyl, Skeata, X-Statik, , Techtronic, Sif, Hiltzy, John Smith, DJ E-Lias, Razoric, James Mac, Gatty, Gatstace, Eustace, Ptronestice (Practice & Trone). $18/$14. ABODE Mezzanine: DJ Count X. 10pm. ABODE T Bird Club. 10pm. CO. Papparazzi: Nikkos, Joe Sofo, Kitty Kat. 9:30pm. Free before 11pm. CUSHION After Dark: Tom Lally, Harry Brownbill, Dancefloor Terrorism, Samantha Cooke, Walker, Jody McLeod, Luke Will, Silversix, Dean Del, DaSilva, Kid Kodi. 9pm. EUROTRASH Mu-Gen, NXR. Free. THE ESPY LOUNGE BAR DJ Vadim, DJ Sarah Love, Th ief & Wolfgramm, Rusty. 6pm. FESTIVAL HALL Jason Derülo. 7:30pm. $79.90. FUSION Sounds Of Fusion: Grant Smillie, DJs Dean T. Phil Ross, Johnny M, DJ Atomik. 9:30pm. $10/$15. HI-FI BAR Illy, Skryptcha, 360. 8:30pm. $15 + bf. HOME HOUSE DJs Jim Danza, Herbee, Syme. LA DI DA Like Disco: Luke McD, Phil K, Mark Pellegrini.

LOOP Esty & Augustus. 10pm. Free. LOUNGE Mr Moonshine, DJ Who Play, Hey Sam, Popeye, Muska, Tahl. 9pm. LUCKY COQ Panorama: Matt Rad, Mr George, Tom Meagher, Phato A Mano. 9pm. Free. MISS LIBERTINE Purple Sneakers: Wilfred Jackal, PhDJ, Em-Sem, Badhorse, RundosRun, Poncho Djz. 9pm. $12. MY AEON The Clarity 3rd Birthday: B6. $10 guestlist. ONESIXONE A20. NORTHCOTE SOCIAL CLUB World’s End Press. 8pm. $10 + bf/$12 on door. PRETTY PLEASE Bad Habits: Anna Lunoe, Opulent Sound, Oohee, M.A.F.I.A., ’96 Bulls. 9pm. $10 / $15. PRINCE Muscles, Strange Talk, Th ieves Of Aon, Romy. 8pm. $25. REGATTA HOTEL Paul Bell, Scotty R, Tom Walker. 8pm. Free. REVOLVER Mike Callander, Lewie Day, Nick Jones, Craig McWhinney and Christian Vance, Stevie Mink, Kizzam, Heath Renata, Katt Niall, Bianca White and Holly J, Sunshine. 10pm. $8 before midnight/$15 after midnight. ROXANNE PARLOUR Boysnoize Records Night: Strip Steve, Das Glow, Rynecologist, Glass Mirrors, Harris Robotis, Kris Baha, Nick Foley, Trumpdisco, D-Manual, Mu-Gen, Not Another DJ, ZEE (Live), Marco Polo, Vinnie Van Go. 9pm. $35 pre-sale. SIGNAL City Breaks: Matt Fernandez. 6pm. Free. THE TOFF Poprocks: Dr Phil Smith. 9pm. Free. TRAK DJ Spinderella, Ashley (Pussycat Dolls). $26 + bf (pre-sale)/$30 on the door.

SATURDAY ABODE N-tice: Jon-E, Steve Punch, Syme Tollens.9pm. BIMBO DELUXE Phato Amano, Adam Askew, Peter Baker, Sam McEwin. CIRCUS BAR Mama Said: Jacob Malmo Vs Liam Waller, Daniel Tardrew Vs Matt Kovic, Jesus Feat Matty Charles, Oliver James Vs Virginia Le, Jay Ueta, Kenan Huric, Jamie Lamittina. CO. Envy: Nikkos, Joe Sofo, Kitty Kat. 9:30. $12/$15. CROFT INSTITUTE Wax Museum Jam: Mexi, Lotek, Paypercutts, Jellyfish. THE ESPY BASEMENT Humidity Entertainment, Primary Source, Jester Crew, The Lounge Detectives. 9pm. THE ESPY LOUNGE BAR French Fries, Polygon Palace, The JSBs, Mu-Gen, Phil Para. 6pm. EUROTRASH Eurotrash House Party: 1928, Sleeves, Mu-Gen, Megawouti, DCeed. 8pm. $5 before 10pm/$10 after. FESTIVAL HALL Jason Derülo. 7pm. $79.90 + bf FUSION Replay: DJ Femme & MC Lady Lauryn, DJs Tate Strauss, Dean T, Nova, Johnny M. 9:30pm. $15 before 11pm. THE GLASSHOUSE Juice Box: M.A.F.I.A, Miss Beats. 9pm. $8 before 11pm/$10 after. HOME HOUSE Herbee, Anth’m, Syme, Jim Danza. KHOKOLAT BAR Khokolat Koated: Damion De Silva, K Dee, Jay Sin. 9:30pm. $5 before 10pm. $12 guestlist/$15 general. LA DI DA Poison Apple: Tom Piper, Chardy, Chango Phat, Ross Horkings, Bianca White, Clint Morgan, Nick Kennedy. LOUNGE Darren Coburn, Luke McD, Nick Coleman. 9pm. LOOP DJ Zanda, Mr Nice and Ego, DJ Lickweed. 10pm. Free. LOFT The Loft Saturdays: Scotty Erdos, Phil Ross,

Nick James, On Time. 8pm. LUCKY COQ Textile: Pacman, Jean Paul, Sam McEwin, Tahl, Kodiak Kid, Moonshine, Ash-Lee, Dj Volta. 9pm. Free. MISS LIBERTINE Miss Libertine 4th Birthday: Emsem, Hans DC, Mz Rizk, MicKa5K, Dave Pham, Matt Radovich JPS, Neptune’s Trident. 6pm. Free. NEW GUERNICA Blow Your Own Way: Funk D’Void, Christian Vance, Mike Callander, Myles Mac, Andy Hart, Mike Gurrieri, Bryce Lawrence, Kate Miller. 10pm. $20 + bf. ONESIXONE Audioporn: Agent 86, China, James Ware. 8pm. PRINCE BANDROOM Superdisco: Louis La Roche. PRETTY PLEASE Good Manners: Shazam, Deacon Rose, Dublin Aunts, ’96 Bulls, Beetlejuice. 9pm. $15 / $20. REVOLVER Pagen Elypsis, Maundz, Syntax, Neat Street, Matik. 9pm. $13 + bf/$15 on the door SYN BAR Sin City Saturday: Ryza, Kay Z, Cdubb, Dir-X, Julz, Drax. 9pm. $15/$10 guestlist. THE TOFF The House deFrost with Andee Frost.

SUNDAY CO. Be: Damion De Silva, Jay J, Ken Walker, Lighting, Rev, Hoesty, Ever. 9:30pm. $5 guestlist before 10pm/$12 after/$15 general. CIRCUS BAR Circus Sundays: Luke McD, Nick Young, Aaron Trotman, Nick Young, Tom Evans, Rowie, Katt Niall. 8pm. FUSION Sunday Sounds: DJs Marcus Knight, Collin McMillan, Mr Timothy + Dean T. 9:30pm. $10. LOVE MACHINE Gossip Sundays: DJs Haylenise, Stoj, Peter McNamara. 9pm. LUCKY COQ Sth Side Hustle: Askew, Booshank, Paz, Miss Butt, Jumbo, Junji, Disco Harry, Pete Baker. 7pm. MISS LIBERTINE Mission Cambodia Charity Event: Men Imitating Machines, A13, Affiks, AC23, Same-o, LJ, Low Qui, Cubist, Miss Bonnita, David Bass, Kano, Paypercutts, Fraksha, Guy Nice, Louie Knuxx, Aux One. 4pm. $10. NEW GUERNICA Spike, Faux Real. 8pm. Free. REVOLVER Boogs, Spacey Space, Radiator and T-Rek. $15. ROBARTA Notorious: M.A.F.I.A. and Miss Beats. 10pm. Free. THE SAINT HOTEL Holy Smokes. THE TOFF The Sunday Set: DJs Andyblack And Haggis. PLEASE SEND ALL GUESTLIST LISTINGS THROUGH TO MELBOURNE@3DWORLD. COM.AU BY MIDDAY THURSDAY PRIOR TO PUBLICATION.




YOU’RE IT RICHIE MELDRUM INVESTIGATES RAPPER TAG, THE NEW ONLINE CRAZE CURRENTLY SWEEPING THE NATION – OR AT LEAST ITS MCS. Rapper Tag? What the fuck is it all about? Well it’s the sum of its parts and pretty selfexplanatory when you think about it. You know rappers yeah? And you know how to play ‘tag’ yeah? Well imagine… wait for it… rappers playing tag! That’s it, you got it – kind of! Th row in the amazing communication opportunities offered by YouTube and the interweb and we have a new game that has been spreading through Aussie hip hop faster than herpes in a whorehouse. It started off with Melbourne based rapper Matt Colwell aka 360, who saw the idea being done in the States and nicked it for an Aust ralian version. So, here is the tech spec – one rapper records themself doing a short rap over some beats (written by Staylz Fuego), at the end of the rap they ‘tag’ another rapper by naming them, which means that person has to go next and record their own rap before ‘tagging’ someone else and so on and so forth. The videos are then posted on YouTube and for our viewing pleasure. At the time of going to press and only one month after Colwell st arted it off, we’re already at number 12. “I guess it’s a bit of fun really,” the originator says. “It’s good to see everyone getting involved in it and I guess it’s a good bit of promo for everyone that does it. It’s been a pretty crazy response, heaps of people are getting into it and loving it.” There are few rules to follow which is always good. The rappers can rap about anything they want, from the slick comedic rhymes of #4 Fraksha claiming that he keeps it “smooth like a girl with no vagina hair” and #6 Newsense who delivers his performance while taking a shit on the dunny, to more emotional topics including #8 Hunter and #9 The Master who reveal their personal battles with ill health. The same ‘take it as it comes’ approach extends to the plan for where the concept will go next – basically there isn’t one. “I wouldn’t mind getting tagged back in and doing it again but I guess its up to whoever’s turn it is,” Colwell says. “I wouldn’t mind seeing someone tagging a group so its more than one person doing the verse at once, if you could get a duo or something like that where they go back and forth for a bit that would be sick. I like that it’s gone from every extreme through all kind of rappers from every kind of background not just specific to one st yle or anything. It’s just going everywhere, so I just want to keep going.” As well as being fun, it’s also an example of

how the current generation of musicians and performers are fi nding new ways of getting themselves into the spaces where the audiences are. “The whole indust ry has changed with infi nite downloads and shit like that,” Colwell says. “Album sales have dropped, so it’s really about finding other ways you can get your shit out there and promote the shit out of your st uff and make little ideas like this work in your benefit. You’ve got be really on point with that shit. If you’re just doing gigs and releasing CDs you sort of get overlooked.” So is there any scope for this underground project to poke its head a little more into the mainst ream? “I reckon it definitely could,” Colwell concludes. “I would love to see maybe one the Bliss N Eso dudes or one of the Hilltop Hoods dudes get down with it. That would be crazy.” Sounds like the gauntlet has been thrown down, someone tag them in quick!



OH, MR SHEEN! Hollywood bad boy Charlie Sheen is in trouble again. Sheen, who plays half a man on the wretched sitcom Two and a Half Men, is at the centre of a real-life drama involving a trashed hotel room and a porn star cowering in the closet. Yes indeed, it’s just business as usual for Mr Sheen, the poster boy for spoiled rich kids. It’s easy to dislike Charlie Sheen. He didn’t take a Greyhound bus to Hollywood with a head full of dreams and no money in his pockets. No, Charlie was raised in Hollywood with a sense of entitlement and a famous dad who helped him get started. For a while, in the 1980s, the plan was working. Young Charlie lent his minimal talent and Malibu good looks to starring roles in fi lms like Platoon and Wall Street, which were considered good movies at the time, even though they are act ually crap. Charlie was the Shia LaBeouf of his day. Handsome, bland and completely forgettable. Scandals involving prost itutes, drugs and violence towards women meant that the wheels fell off Charlie’s career as a movie star. By the time the 80s rolled into the 90s he was whoring himself in fi lms like Hot Shots! and Major League. To keep busy between fi lms, Charlie continued with the hookers, the drugs and the violence towards women. He was in and out of rehab, he did some more drugs, then he made sequels to both Hot Shots! and Major League. Th ings were getting desperate. Finally Sheen washed up on TV, fi rst in Spin City, then in the unspeakable Two and a Half Men where he seems to play a more family friendly version of himself (TV Charlie doesn’t pay the women he sleeps with and they don’t take AVOs out against him). By all standards, Sheen’s career should have been over. But he seems to be have made a deal with Satan, because Charlie’s sitcom is the most popular show in the world and he is the highest paid sitcom star in history. How many more hotel rooms have to be trashed? How many more porn stars have to be traumatised? How many more episodes of that awful show need to made? Charlie has had it to good for too long. Satan needs to renegotiate the deal, before the Prince of Darkness himself is found cowering in a hotel room closet. DAVE JORY



THE LOVED ONES DOUBLE PASSES The Loved Ones is a vivid, sexy rollercoaster of a ride that takes the conventions of horror and runs them off the rails. Starring Xavier Samuel, Robin McLeavy and Victoria Thaine, the film tells the story of Brent ( Samuel) who has never recovered from the night of the car crash that killed his father. After turning down the advances of the quietest girl in school Lola (McLeavy), a terrifying series of events take place under a mirrored disco ball, involving pink satin, glitter, syringes, nails and power drills. The film is out this Thursday 4 November and 3D World have double passes to give away. For your chance to win email your name and address to with LOVED in the subject line. Entries close Friday 5 November.


HOW WOULD YOUR MUM DESCRIBE YOU? “Well she did hear the announcers on RRR breakfast talking about me recently so she took it upon herself to call them up and tell them everything that nobody could possibly care about.” ONE GENRE TO REMOVE OFF THE FACE OF THE EARTH AND WHY? “I went to a venue where my brother worked and the music there was offensive in so many ways. First it just hurt sonically but then I got slapped down visually when I saw the sort of people that like it. He said it was called ‘happy hardcore’ which doesn’t sit right with me.” WHO INSPIRES YOU MUSICALLY? “James Brown, Fela Kuti, R.Kelly, Curtis Mayfield, Stezo, Public Enemy, Vince Peach, Kano, Stan Magro and more.” NAME THREE TRACKS CURRENTLY DETONTATING YOUR DANCEFLOOR? “Fela Kuti – Shakara, Pattijo – Make Me Believe in You, DâM-FunK – Hood Pass Intact.” TELL US ABOUT A CLASSIC CLUBBING MOMENT? “More of a gig than club but it was at WOMAD with The Public Opinion. We were on stage and just about to perform to more than 10,000 people, our biggest crowd by miles at the point. One of our Ghana-born singer/ dancers Kuukua stepped up to the mic and in a beautiful lost-in-translation moment informed

the crowd to ‘get ready because we are going to blow you all off ’. 10,000 punters and 20 band members all fell about laughing.” ONE RECORD YOU’RE EMBARRASSED TO ADMIT OWNING? “I’m not embarrassed of anything, although my ever fi rst record was the soundtrack to Young Einstein (on fluro pink vinyl!).” WHAT’S ON THE TOMBSTONE? “Nothing on my tombstone, I’ll be cremated then used to season a steak that will be fed to wild mountain wolves.” WHERE & WHEN: Soul-A-Go-Go at The Johnston Saturday 6 November




THIS WEEK: JAZZ HOP That fusionist Herbie Hancock preempted jazz hop in partnering with hip hop DJ GrandMixer D.ST for the elect rofunk Rockit. Rockit, co-produced by bassist Bill Laswell, appeared on his 1983 Future Shock. It would become the fi rst pop hit to feature scratching (D.ST selected a Fab Five Freddy record). When Hancock performed Rockit with D.ST at the Grammies, it turned on B-boys like Mix Master Mike... Much later, Gang Starr’s MC Guru released a full-scale jazz hop project in Jazzmatazz, Vol 1. Gang Starr, who sampled Dizzy Gillespie for their debut single Words I Manifest, had already collaborated with Branford Marsalis on Jazz Thing for the soundtrack accompanying Spike Lee’s Mo’ Better Blues. For 1993’s ‘solo’ Jazzmatazz, Guru secured an extravagant cast of guest jazz musicians, including Donald Byrd. He’d issue four Jazzmatazz albums, the last independently in 2007. The MC always rejected the



term ‘jazz hip hop’ as a media const ruct. Guru underscored the affinities between (an improvised) jazz and hip hop, but he wasn’t alone. The Native Tongues acts De La Soul and A Tribe Called Quest also made music dist inguished by jazzy textures, and MCing, with ATCQ’s The Low End Theory particularly avantgarde – or ‘abst ract’. Like Digable Planets, best remembered for Rebirth Of Slick (Cool Like Dat), both groups worked with – or sampled – jazz musicians. The Native Tongues fold were influenced by New York’s Stetsasonic, an early hip hop ‘band’ – they’d sampled Lonnie Liston Smith on Talkin’ All That Jazz. One of Stetsasonic’s founders was future De La Soul producer Prince Paul. Ironically, 60s artists such as The Last Poets foreshadowed jazz hop – and, in fact, hip hop – with their blend of spoken word poetry and jazz. Jazz musicians, too, were attracted to hip hop. Trumpeter Miles Davis teamed

MEET THE CREWS DUB CLUB MELBOURNE CREW MEMBERS? “Dub Club Melbourne and the Heartical HiFi Outernational crew.” WHY DID YOU GUYS START PROMOTING PARTIES? “There are Dub Clubs in many cities around the world, this was the inspiration to come up with a Dub Club Melbourne to help promote an international st yle reggae and dub scene in Aust ralia.”



with an up-and-coming Easy Mo Bee for Doo-Bop, post humously released in 1992. (Easy subsequently produced The Notorious BIG.) But not every jazz great dug the ‘new’ black music. Branford Marsalis’ traditionalist younger brother Wynton was a critic of rap. Labels capitalised on the commercial potential of jazz hop, some cynically, with Blue Note launching Us3. With access to Blue Note’s back catalogue, the British outfit cut an album of jazz-sampling grooves, charting with the Hancock-inspired Cantaloop (Flip Fantasia). Meanwhile, a new wave of hip hop DJs – among them Mix Master Mike – developed ‘scratch music’, using the turntable as an inst rument. Th is music assumed a more avant -garde form in illbient. Jazz hop – which paralleled acid jazz, similarly maligned as ‘corporate’ by the mid-90s – presaged The Roots as well as the nu-jazz movement.


WHAT SOUND WERE YOU LOOKING TO PUSH WHEN YOU STARTED OFF, AND HOW HAS IT EVOLVED SINCE THEN? “Musically we’ve always played a lot of dubwise along with classic reggae, version excursions and original dancehall. We wanted to push the whole concept of the authentic reggae soundsystem where a crew presents the music on their own ‘sound’.” WHAT WAS THE FIRST GIG YOU RAN, AND HOW DID IT GO? “Once we were ready to do a gig we had to find a suitable venue and one that would give us a go. Th is took some time until we found a basement bar in the city with no sound rest rict ions, then we were able to promote our fi rst dance, appropriately naming it ‘Basement Session’. It went very well and we’ve been doing them regularly over the last three years now.” WHAT’S BEEN THE BEST ONE SO FAR? “They seem to get better every time. One time the Mad Professor played a random unannounced live dub show on the sound which was fun. Some of the outdoor events with Heartical HiFi playing in the open air have been quite memorable experiences.” WHAT WOULD BE YOUR ULTIMATE LINE-UP FOR AN EVENT? “Heartical HiFi Outrational under the same roof as some of our favourite sound systems from the UK, like Jah Shaka, Channel One, Iration Steppas, Jah Tubbys, Conscious Sounds, Dubateers, and Aba Shanti.” WHERE & WHEN: Basement Sessions Saturday 6 November and Saturday 4 December at The Night Owl, Bass Jump NYD at Prince Of Wales.




PNAU Sambanova

The Melbourne-based house duo of Jean Marie Guilfoil and David Walker burst through the rave door running with a st ring of anthemic pumpers from 1990 (their minimal dark gospel throbber God Intended st ill causes a flashback shudder). They not only proved that Aust ralia wasn’t blindly copying the UK and US scenes (they even scored a UK hit) but showed that even though there was a woman in the act, she didn’t have to be the vocalist /decoration for live PAs. Guilfoil was a female club music pioneer. They also released Aust ralia’s fi rst st udio house album with the accomplished New Moon set (yes, there were local st udio albums released earlier from other club genres – but this was a st raight-down-the-line house fi rst). Spacious, crisp product ion fleshed out act ual songs and the basslines led you by the crutch. The album not only crammed singles Lucid, Out Of Body and Dreams Of Heaven into this experience but they bucked the diva-vocal trend of the time by featuring soul singer John Kenny on the quasi-spiritual deep house cut Searching For The Truth (way ahead of this sound becoming the signature of late-90s main rooms). ANDREW MAST

The New Wave era generated credible Aust ralian synth-pop bands – Icehouse, Real Life, Pseudo Echo, Kids In The Kitchen – but, with the exception of Icehouse, they created classic singles, not albums. The recent New Wave revival has been more bountiful, with the staunchly independent Midnight Juggernauts the act best able to reintroduce an avant-garde sensibility to elect ro-pop. In 2007’s Dystopia, the Melburnians could have presented an album of the blissed-out Shadows on repeat. They didn’t. Then called Flowers, Icehouse’s sublimely atmospheric debut st ill emulated the glacial elect ro of Gary Numan (and David Bowie in his Berlin phase). But, on the sci-fi Dystopia, the Juggernauts, Bowie’s illegitimate genius children, voyaged through prog rock, cosmic disco, New Romanticism, indie-dance and French touch – occasionally within the same song. The title-track imagines a space-age Balearic. Worlds Converged opens with harmonies that evoke ELO, the now cult Brit symphonic rock outfit. The too-brief Scorpius manifests all the drama of Ultravox’s Vienna. And these weren’t even singles. Far being being gothic, or (eek) emo, Dystopia represents an agnost ic futurism, a counterpoint to techno’s idealism, from intuitive musical time travellers. CYCLONE

For most bands picking up an ARIA Award would be the catalyst for a spike in album sales and much deserved financial compensation, but for Pnau it was the beginning of close to a decade in music indust ry purgatory. Uncleared samples saw Sambanova yanked from record stores a week before Nick Littlemore and Peter Mayes took out the ARIA for Best Dance Release in 2000, and the band arguably didn’t recover until perfect ing indie-elect ro crossover on 2007’s self-titled effort (though Again surfaced on Darren Emerson’s Underwater Records in 2003). Though Warner’s 2001 re-pressing featuring a rejigged tracklist ing including some Hed Kandi-esque vocal house cuts is the most readily available (others include a rush-released version with the wrong disc colour and another with a digital pop in one of the tracks), it’s the 1999 original on Peking Duck which impressed the dance music underground and eventually fl irted with the mainst ream. Sambanova largely drew from the same cues as overseas funky house and fi ltered disco acts, but Pnau found their own niche – Mellotron and the title track conjure images of a sun-kissed terrace in the height of summer, Hard Biscuit and Discone (the latter subsequently removed from the re-issue) take a similar sound into drugged-out early morning territory, while Need Your Lovin’ Baby and Direct Drive are as peaktime as turn of the century main room house gets. Quite where Pnau would have ended up if copyright issues didn’t throw them off the rails post-Sambanova is anyone’s guess, but with Elton John now taking them under his wi(n)g the future is sure going to be interest ing. KRIS SWALES

(Vicious Vinyl), 1995.

(Siberia/Inertia), 2007.

(Peking Duck), 1999.




1. 2. 3. 4. 5. 6. 7.

THE BAMBOOS Step It Up (Tru Thoughts), 2006.

Whilst certainly not the best album by the band, The Bamboos’ 2006 debut LP Step It Up deserves inclusion in the annals of Aust ralian Music history because it was the first Aust ralian deep funk album to spawn a wave of imitators and the only one to receive a nod from two overseas labels. After honing his song-writing and product ion skills on the self released Eel Oil/Blackfoot and Kaydee Records released Tighten Up 7-inch singles, lead guitarist Lance Ferguson signed his band to the Brighton based Tru Thoughts label. It may be odd to think that a largely inst rumental album with three covers on it deserves such praise, but it was the first time in a long time we had heard such horn stabs and upfront drums in the mix of any Aust ralian record since Jimmy Barnes’ Soul Deep and, well… let’s not go there. The players included Renae Geyer’s bassist Yuri Pavlenov, esteemed jazz saxophonist Anton Delecca and The Cat Empire’s Ross Irwin, as well as boogie-funk producer Ben Grayson on keys and the fat-back drummer everyone wanted a slice of, Daniel Farrugia. Perhaps obese-back might be a better term because one thing that really st icks out on this album is the drumming, be it the in-the-pocket rolls of Voodoo Doll or the crashing 4/4 cacophony that is the band’s cover of Afronaught’s brokenbeat monster Transcend Me featuring UK soul powerhouse Alice Russell on vocals. Step It Up was and is a roaring success due to its enjoyable, varied and listenable nature as well as its appeal for dancers and DJs alike. It st ill finds itself sitting fondly in collect ions, crates and on compilations to this day. HUWSTON


8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24.

Midnight Oil – Diesel And Dust AC/DC – Back In Black Crowded House – Woodface Cold Chisel – Circus Animals The Triffids – Born Sandy Devotional The Easybeats – The Best Of Paul Kelly And The Coloured Girls – Gossip You Am I – Hi Fi Way Skyhooks – Living In The 70s The Avalanches – Since I Left You INXS – Kick The GoBetweens – 16 Lovers Lane Radio Birdman – Radios Appear Daddy Cool – Daddy Who? Daddy Cool Richard Clapton – Goodbye Tiger Bee Gees – Best Of Vol 1 The Birthday Party – Junkyard Hunters And ColLectors – Human Frailty Sarah Blasko – As Day Follows Night The Saints – (I’m) Stranded The Drones – Gala Mill Split Enz – True Colours Midnight Oil – 10, 9, 8, 7, 6, 5, 4, 3, 2, 1 Slim Dust y – The Very Best Of

25. Silverchair – Neon Ballroom 26. Nick Cave And The Bad Seeds – The Boatmans Call 27. Regurgitator – Unit 28. Hoodoo Gurus – Stoneage Romeos 29. Empire Of The Sun – Walking On A Dream 30. Geoff rey Gurrumul Yunupingu – Gurrumul 31. Kasey Chambers – Barricades And Brickwalls 32. Johnny O’Keefe – The Wild One 33. The Church – StarfisH 34. The Reels – Quasimodo’s Dream 35. The Masters Apprentices – The Masters Apprentices 36. Savage Garden – Savage Garden 37. Sunnyboys – Sunnyboys 38. Kev Carmody & Various Artists – Cannot Buy My Soul 39. Something For Kate – Echolalia 40. Stephen Cummings – Lovetown 41. The Saints – Prehistoric Sound 42. Aust ralian Crawl – The Boys Light Up 43. Powderfinger – Odyssey Number Five 44. Mental As Anything – Cats & Dogs 45. Eddy Current Suppression Ring – Rush To Relax 46. Models – The Pleasure Of Your Company 47. Augie March – Moo, You Bloody Choir

48. The Missing Links – The Missing Links 49. Ed Kuepper – Honey Steels Gold 50. Ac/Dc – Highway To Hell 51. The Sports – Don’t Th row Stones 52. The Seekers – The Best Of 53. Cold Chisel – East 54. Underground Lovers – Leaves Me Behind 55. You Am I – Hourly, Daily 56. INXS – The Swing 57. The Living End – The Living End 58. Jimmy Barnes – For The Working Class Man 59. Russell Morris – Wings Of An Eagle 60. Hoodoo Gurus – Mars Needs Guitars! 61. The Presets – Apocalypso 62. The Dingoes – The Dingoes 63. The Cruel Sea – The Honeymoon Is Over 64. The Angels – Face To Face 65. The HummingbirDs – Lovebuzz 66. Paul Kelly – Foggy Highway 67. Chain – Toward The Blues 68. Dragon – O Zambezi 69. Billy Thorpe And The Aztecs – Live! At Sunbury 70. Scientists – Blood Red River 71. Crowded House – Temple Of Low Men 72. Died Pretty – Doughboy Hollow 73. Axiom – Fool’s Gold

74. 75. 76. 77. 78. 79. 80. 81. 82. 83. 84. 85. 86. 87.

88. 89. 90.

91. 92. 93. 94. 95. 96. 97. 98. 99. 100.

Bob Evans – Suburban Songbook Dirty Th ree – Ocean Songs Renee Geyer – Ready To Deal The Church – The Blurred Crusade The Vines – Highly Evolved John Farnham – Whispering Jack The Loved Ones – Magic Box The Sleepy Jackson – Lovers Bliss N Eso – Flying Colours Nick Cave And The Bad Seeds – Tender Prey Tex, Don & Charlie – Sad But True Flowers – Icehouse Missy Higgins – The Sound Of White The GoBetweens – Before Hollywood Normie Rowe – Normie’s Hit Happenings Jet – Get Born The Captain Matchbox Whoopee Band – Smoke Dreams Ben Lee – Awake Is The New Sleep Rose Tattoo – Rose Tattoo I’m Talking – Bear Witness X– X-Aspirations Beaches – Beaches Baby Animals – Baby Animals Bernard Fanning – Tea & Sympathy Kylie Minogue – Fever Men At Work – Business As Usual Various Artists – Morning Of The Earth Soundtrack




ARTIST NAME: Paul Shanta/Shanta ARTWORK TITE: Last Drag, Last Life FROM: St Peters, NSW DESCRIPTION OF WORK: “A man smoking having his last drag An eight layer stencil on mounted canvas thick edge board. Ironlak and Montana with White Knight black paint. Shanta has been delving into the world of Stencil Art for three years now within NZ, now living in Aust ralia. His work has been described as a mix match of organic shapes and forms with urban st yle and high detail.”

The process of becoming a saint of the Catholic Church is a lot more bureaucratic than you’d think. It involves a canonisation, which means that first ly two miracles have to be ‘attributed’ to the deceased person, which means that two people had to have prayed to them, which they believe resulted in them being healed of some otherwise incurable disease. Then, they have to be dug up from wherever they’re buried and relocated, in case people try to salvage themselves a piece of the disease-healing corpse. Then finally, they are declared a saint under the ‘Universal Magisterium of the Church’. Nineteenth Century Aust ralian Catholic nun Mary MacKillop was recently recognised as a saint by the Catholic Church. Mackillop is Aust ralia’s fi rst official saint, and this made headlines for a least a week, with Mary becoming our new celebrity, trumping Princess Mary and Mary Kay Cosmetics as Aust ralia’s most popular Mary. With all this excitement about Mary



CREW MEMBERS? “Lickweed, Mr Nice, Zanda and Guests.”

ARTIST NAME: Mel Foster ARTWORK TITLE: Pinned All Round FROM: Sydney, NSW DESCRIPTION OF WORK: “Pinned All Round is part of a series of stencil works examining alternative sub cultures and identity in inner western Sydney. Th is alluring portrait was shot in a former indust rial site and then reconst ructed by cutting, layering and rebuilding the image with screen printed stencils. The body forms the central theme within the image and propagates her interest in beauty and the banal. Th rough her photographic technique of stencilling, Foster capitalises on the effects of translucent layering, imperfect ions in regist ration and vintage colouring to convey a unique view of beauty that lies between the old and new and the glamour and gutter of urban environments.” Aust ralian Stencil Art Prize exhibition launches at Oh Really Gallery (Sydney) 6pm on Thursday 11 November.

WHY DID YOU GUYS START PROMOTING PARTIES? “We were sick of being Bedroom DJs and wanted to spread our music collect ion to the people of Melbourne.” WHAT SOUND WERE YOU LOOKING TO PUSH WHEN YOU STARTED OFF, AND HOW HAS IT EVOLVED SINCE THEN? “We started off with pretty much party orientated tunes and went on to generally funky sets ranging from hip hop and funk, rock and elect ro to breaks and drum’n’bass. The Mr Nice audio-visual set has really evolved since the beginning, making use of Loop’s massive screens and keeping the crowd amazed each time. It’s a real spectacle that has ingrained itself as part of the Pickled Beats party. The Pickled audience has worked out the system we have developed and if Breaks and d’n’b is solely their thing they may even rock up at 3am because they know that’s what they’re going to get from Lickweed at that time.”

MacKillop’s miracles, something came to my attention that wasn’t widely discussed in the papers. Although the entire media were happy to completely embrace the fact that Mary MacKillop is a saint who has the ability to magically heal incurable diseases, there was a dist inct lack of attention given to the fact that magic doesn’t act ually exist. You might say that I could try and open my mind to the possibility that miracles can happen. Sure, the Catholic Church might be able to open their minds to believe in miracles, but they st ill won’t open their minds to believe in dinosaurs and condoms. So I’m not so sure we should be celebrating their ability to open their minds to the possibility that a dead nun can heal a person of leukemia just yet. The canonisation of Mary Mackillop seemed to be some sort of national public declaration of completely accepting the Catholic Church’s view of the world, while in Queensland in the same month, the proposed building of a mosque in Worongary attracted 200 object ions, two protests and a spray of bigoted graffiti. If Mary is really a saint, she’ll stop healing people of disease and start st riking down a few more people with it. It’s the only way to be sure she knows what she’s doing. HOLLY HUTCHINSON

WHAT’S BEEN THE BEST ONE SO FAR? AND ANY DISASTERS ALONG THE WAY? “Probably the first time we had DJ Ego and DJ Moneyshot on as guests, also when we had the Subbass crew joined us one month. Our first summer at Loop wasn’t a disaster but it was certainly quiet. It took us some time to build up the night and get a following. Now it’s huge – one of Loop’s biggest nights. The energy of the crowd is contagious and you can see people coming back each month on the first Saturday for a big night of partying.” WHERE & WHEN: Pickled Beats at Loop Saturday 6 November, Xmas Extravaganza at Loop Saturday 4 December

WHAT WAS THE FIRST GIG YOU RAN, AND HOW DID IT GO? “Xmas eve at Loop in 2007, went really badly, probably had about 20 people at the club at most.”




CEE LO GREEN FUCK YOU! (Universal Motown), 2010 Not since Shriekback’s Lines From The Library back in the 1980s has cursing been made sound so sweet and funky as the Atlanta soulster does here. But even after you get past the novelty value of singing along loudly with the “fuck you” refrain of this lovelost anthem, you realise there is a great pop song at its heart. But radio will only play it as “f*** you” or “forget you”. Naughty, naughty, Cee Lo, why couldn’t he make another nana-friendly summer hit like his Gnarls Barkley effort, Crazy.


Speaking of naughty. Black Grape were even looser than the band they spun off from, Happy Mondays. Founder Shaun Ryder caused a furore dropping the “f ” word on TV twice – and he was also banned from the US but that was due to the “e” word. Th is post-hop groove included the bizarre lyric, “Jesus was a black man, no Jesus was Batman/No… that was Bruce Wayne”. Long after this Ryder found himself back on radio by guest ing on Gorillaz’ hit Dare – which was produced by Cee Lo’s Gnarls partner Dangermouse.


BOW WOW WOW C’30, C’60, C’90, GO (EMI), 1980 With Malcolm McLaren pulling the st rings of this frenetic, Burundi-drum fuelled pop punk outfit, Bow Wow Wow’s short but bright career was always courting controversy. Mac swiped the band from under Adam Ant’s nose and the mother of the young female singer he put up front, Annabella Lwin, accused Mac of “exploitation of a minor for immoral purposes”. Th is song was initially released on cassette only, as it celebrated the death of vinyl(!) and rallied against the sad state of radio. In the 1990s, the band’s guitarist Matthew Ashman went on to play with Wall Of Sound act Agent Provocateur with Danny Saber who was a part-time member of the Black Grape’s collect ive.

TUBETIME The incredible world of television with 5SPROCKET

Keeping Up With The Joneses (Channel 10) is a poorly conceived reality programme that follows the day to day life of an outback family. The ‘Joneses’ are a cattle family, a white Aust raliana wet-dream gone rabid. Featured shots of helicopters flying low, doing spins, and making everything dust y. A soundtrack loaded with obligatory slide guitar and the occasional banjo hoe-down. The cattle wear lipst ick and are sexually open-minded. In tonight’s episode the Joneses need to put the cows on a truck. The patriarch Milton, a man unsuited to high definition, tends to work hard by putting his thumb under his belt and yanking his pants into his crotch. His son, Little Milton, is a hyperact ive fouryear-old demon child that communicates in an atonal groan, somewhere between an injured chimp and a troll. When he grows up he wants to be just like his pa, surely a dream we can all aspire to. A secondary plot thread introduces the local police, who are in town to inspect the “road train”. The show is full of the working class vernacular I like to snark at as I sip my Manhattan. “Ay,” instead of “Hey how are you going?”, “Specko,” instead of “Shall we inspect your shit caked vehicles?”. It’s a hard day’s work out there on the farm, lathering yourself in animal sweat and Akubra wear. For lunch they go to the local billabong and catch, scale and cook a fish. Then it’s back on the low flying chopper to make our sunburnt country an internationally saleable and absolutely reduct ive caricature of ‘our nation’. As if to make amends for the crimes of the universe, Beauty And The Geek Aust ralia (Channel 7) has returned. In this week’s challenging episode, a social cliché is paired with a social cliché of another gender and required to do tests that correspond to their social cliché. Do opposites attract? Sure sounds like a wacky scenario! How about a toothless nerd with a speech impediment making martinis! A pair of tits with a head has to build a safety harness for a children’s swing! A nervy postal worker with a beard has to go to court to receive an AVO on another contestant! Full of zany comedy music (wicka wow), this isn’t your standard local remake of a mediocre American reality TV show. It reminds us that hot chicks and nerds are st ill willing to be the punch line of every joke, as long as they can be ridiculed on national television.



Since we haven’t seen the emergence of a new act ion hero in a while, the old guard have apparently decided to fi ll the gap. Hot on the heels of The Expendables comes RED (which stands for ‘Retired, Extremely Dangerous’), which features a cast so fabulous that the premiere surely rivaled the Oscars for star power. Robert Schwentke is back in the director’s chair, trying to make amends for his dismal previous effort, The Time Traveler’s Wife, and, thankfully, succeeds to a degree. RED follows Frank Moses (Bruce Willis), a retired CIA agent whose life, once revolving around Black Ops assignments, now consists of placid domest icity and a crush on a call centre worker, Sarah (the fabulous Mary-Louise Parker), with whom he’s only ever spoken on the phone. With the discovery that the CIA are out to get him, Moses skips town, kidnapping Sarah, who he believes will be a target thanks to his affect ion for her. What follows is a parade of supporting roles and cameos, each more awesome than the last. Moses contacts a number of retired agents from across the globe – enter Morgan Freeman, John Malkovich, Brian Cox, and the incredible Helen Mirren. Even the two-line cameos are fi lled by

some of television’s finest, from Gilmore Girls’ Emily Kuroda to Dexter’s James Remar. Mix in some great act ion sequences, an ageinappropriate love story and a solid performance from Kiwi Karl Urban as the young-gun CIA agent, and surely this is the best fi lm ever, right? Well, it should be, but RED just isn’t. Too much of what could be interest ing about this fi lm is unexplored. How does a trained killer retire? Are they owed a youthful life after their work is done? Schwentke hints at these quest ions but then ignores them in favour of giving Helen Mirren more time in an evening gown, fi ring a machine gun. It’s a good popcorn movie, but RED ultimately sells its incredible cast a bit short. WHERE & WHEN:

Screening in cinemas ALEKSIA BARRON





(MICROSOFT XBOX 360) Fable III hits the shelves at a peak of expectation, continuing the open-ended adventures in the rich and immersive world of Albion. While it has only been two years since Fable II was released to Game Of The Year accolades in the real world, it has been a tense 50 years in game time. The former Hero’s rule has passed on to another generation amid the birth of indust rialisation. As the factories rise, and the nation’s mood deepens into whispers of revolution against your brother the King, your quest begins. Will you fight for freedom and peace, or crush all resistance once and for all? As with all of the Fable releases, Lionhead Studios have crammed every inch of the game with grin-inducing humour, starting with perhaps the most hilarious and bizarre introduct ion sequence ever created. The st reamlined RPG gameplay aest hetic of the prior titles has been further refined, with a complete avoidance of inventory management typically at the core of all games of the genre. The overall experience is loose and fast, which can feel unsettling for fans of extreme RPG titles such as Oblivion or World Of Warcraft. Much like prior titles, there is no crate smashing, no backpacks or inventory slots, and nothing to plunder from dispatched foes. Lionhead have perhaps gone a little too far in the quest for simplification, taking out the rewarding “experience orbs” interact ion of Fable II , and further turning the fighting experiences into a slightly mindless arcade button mash. While not to all tastes, this reboot of the RPG formula extends to the menu system, which is incorporated into the game itself by way of a Sanct uary. Essentially a series of rooms that the player teleports to when the menu button is pressed, the Sanct uary contains a trust y butler,


voiced by John Cleese, who delivers an amusing supply of one-liners and the odd suggest ion to purchase in-game content from the conveniently placed service counter. Converting the traditional game menus into a virtual room is an interest ing move that improves on Fable II’s redundant and repetitive menu mashing that hampered the consumption of multiple potions or foodst uffs. The trade-off is a slightly more annoying method for quest management, bound as it is to the interact ive world map in the centre of the room. The frust rations don’t stop there alas, with a range of peculiar visual issues plaguing the game. The same soft Fable palette returns, with HDR simulation and light blooming effects galore, but this ambitious rendering suffers regularly from frame-rate st uttering and slow load times. Other small issues detract from the experience and snap the player back to reality, including the unnecessary recycling of voice act ing from the previous game. Th is is cute for the recognisable turns of phrase, such as the “dancing loon” jokes, but in game terms this is supposed to be 50 years on, in a vast ly indust rialised version of Albion. Chances are that the game characters voicing the original quips are (gasp!) dead. The jury is st ill out on other attempts at innovation, including the redevelopment of the money earning in-game, trading the pendulum-st yle challenges with timed button sequences in the st yle of Guitar Hero. There is also a curious reboot of the stats progression method, which now takes places by spending experience points on The Road To Rule, a partitioned dreamscape that opens up as waypoint challenges are completed. Some of the most important and more popular features remain largely intact – which is to say that you are st ill free to marry, create happy or miserable little families and engage in whatever extra-marital sexual encounters you so desire. Although Albion may be entrenched in the throes of the indust rial era, it has reached an enlightened view on same-sex relationships. As ever, the consequences of your act ions may result in unintended children, or other situations difficult to explain away. The same decision making impacts upon the larger game play in a way yet delivered by Lionhead’s initial promises of “changing the world one act at a time”. Every act ion has a consequence, and these are explored further than the various set-points in the plot of Fable II, and the usual “halo or horns” visual cues that have run through the series to date. Fable III is for the most part an enlightened and exciting extension of one of the more notable RPG series to come to the XBOX. The game play is more tweaked for a flowing experience than ever, and thus appeals to an even wider audience. Just as importantly, there is a new level reached in sarcasm and general Dadaist absurdity. Come for the free flowing game play, stay for the chicken races.


FABLE (2004) The original Fable on the original XBOX proved a surprise to gamers weighed down in increasingly complex RPGs. The colourful and quirky world of Albion proved an instant hit, plagued as it was with all manner of bandits and bad jokes. The storyline follows a typical combination of “child of the st reet discovers great powers” and “you killed my family, vengeance will be mine”, before veering off with a multitude of story arcs triggered by the Good or Evil choices made during the game. The concept of “free will” became a fi xture for the series, including the Lost Chapters expansion pack.

FABLE II (2008) After the final defeat of Jack Of Blades in the original, Albion becomes a peaceful place. The cities grow and society advances into a wonderfully sarcast ic pre-indust rialisation era. You are again an orphan, though this time a random child of the st reet rather than the product of dirty deeds. You are also the unknowing descendent of the Hero line, and you must stop the mad king Lucien from taking over the world. Th is is as much a remake as a sequel, with more humour, more detail, and many, many more chickens.


WHERE’S THE MONEY? Micropayment options continue to expand, offering more ways to get bread on the table for artists and musicians. THE PAYPAL GORILLA Micropayments are payment systems that allow for people to easily transfer very small amounts of money without a disproportionate transaction fee attached, and these have been championed as a solution for generating income for online publishers. Click a button if you like an article/song/video, and five cents is effortlessly donated. Spread this model over a large enough audience and it’d start to mean many could concentrate on making higher quality work for a living. There’ve been two problems with this so far though – proportionally large transaction fees, and what others have termed a “mental accounting barrier”. The argument there was that “each price, no matter how small, carries a burden of deciding if the content is worth that price; accumulated over a large amount of content, this burden would pose an extreme inconvenience to the users”. Micropayment systems have come and gone ( RIP), but the move by the ubiquitous Paypal could change the ballpark. Instead of a typical fee, where a $1 transaction would incur a fee of 33 cents, Paypal now offers new pricing of five percent plus five cents for purchases under $12 (a $1 transact ion would now only cost 10 cents). The new pricing will launch later this year, but will be integrated into Facebook soon. Apparently part of the motivation was for direct in-app transactions for virtual goods within social gaming environments, where they currently process billions of dollars a year. These payments will also be available by SMS. Already Amazon offer a Flexible Payments service, and Google offer a checkout service, both with apparently similar pricing options, but it’s the popularity of Paypal which means that this will likely have some repercussions for independent producers. Another factor that maybe means the time is now ripe for micropayments is the huge popularity of the app store model, which sells software at smaller prices to much larger audiences, but also gets audiences used to paying small amounts for services. FLATTR An interest ing sidenote to the above, Flattr seeks to solve the micropayment problem by using monthly fees. Choose the amount you want to pay per month, donate to whoever you like – and at the end of the month, your fee is divided between all the things you’ve flattered. Ten percent of incoming revenue is taken as a Flattr fee. @JEAN_POOLE



HOW DID WORLD’S END PRESS COME TOGETHER? Rhys Richards (Synths/Elect ronics): “John and I have been making music together since high school. The current 4 member line-up of WEP has been going for about a year. We’ve always had a love of many st yles of music (I hate it when people say that) and each member has their own different musical obsessions. WEP used to play a more psychedelic and proggy version of pop. The last year has seen us adapt our sound more into the realm of dance music. Given an immense and long-standing love of disco, as well as house and techno music, it’s been an incredible challenge to adapt ideas of club music into pop. We’ve st ill got a long way to go.” HAVE YOU BEEN MINDFUL OF REALLY PERFECTING YOUR SOUND VIA YOUR EP RELEASES BEFORE COMMITTING TO A FULL-LENGTH RELEASE? Rhys: “That’s exact ly it. As mentioned, we’re st ill discovering our sound, and we want the record to be something we’re happy with, and ultimately something we’d want to listen to. Putting out singles and EPs was never part of some master plan, but has just happened whilst we’ve worked towards an album. Th is year has seen us become increasingly more confident in the st udio, so this process has been invaluable.” IS FAITHFUL A GOOD REFLECTION OF WHERE YOUR SOUND IS CURRENTLY SITTING? Sashi Dharann (Bass): “It’s more like a progression between two worlds. Tracks such as Long Live mark a progression towards a more rave/dance sound, where as Only The Brave represents our more organic approach as a band. We’re constantly trying to find a happy medium between these two aspects.” HAS IT BEEN DIFFICULT TO TRANSLATE YOUR LIVE ENERGY INTO YOUR RECORDINGS? Sashi: “For sure. If we could bring all our sweaty, dancing fans into the st udio we would, but obviously that ain’t gonna happen... they’d block the fi re exit. We had to realise from early on that we were dealing with an entirely different aspect of the music. We’ve enjoyed the st udio vibe though. You can experiment a lot more, but it also lets you hone your craft. Live, we rarely get a chance to perfect things, and there’s such a wall of noise it’s hardly discernible, but in the st udio we can be meticulous and give every sound it’s full attention HOW IMPORTANT HAS YOUR PRODUCER QUA BEEN IN HARNESSING THE WORLD’S END PRESS SOUND? Sashi: “We came into the album process as novices, and Qua agreed to

work on it with us. In his st udio we had the freedom to use some great gear and really get the sound we had in our heads when we’d reach the limits of our technical knowhow. It also helped to have another outside voice to ground us at times, and at the same time to embellish our grandiose ideas. I st ill recall listening to Phil Collins’ No Jacket Required with him in my lounge room, turning to him and saying ‘can you do this to us?’ – ridiculous!” WHEN CAN WE EXPECT YOUR MUSIC FOR THE WORLD ALBUM TO DROP? Sashi: “Patience... patience. The record will come out soon. We’re hoping early next year, as we’ve got a few touch-ups to make, and some new st uff to add. We’re gonna be road test ing some of it over summer when we hit the fest ivals. If it tanks you won’t hear it on the album...” WHO: World’s End Press WHAT: Faithful

EP (Love + Mercy/ Shock)


Northcote Social Club (Melbourne) Friday 5 November, Shark Bar (Gold Coast) Thursday 11 November, X & Y Bar (Brisbane) Saturday 13 November, GoodGod Small Club (Sydney) Thursday 18 November, Coogee Diggers (Sydney) Friday 19 November, The Nash (Geelong) Saturday 27 November



PLEASE DRINK RESPONSIBLY. The Smirnoff word and associated logos are trademarks. Š The Smirnoff Co. 2010.






RADING HER ‘TRASH BAG ON THE WAY TO REHAB’ LOOK FOR POLISHED AND POISED 1950S GLAMOUR, ECCENTRIC SINGER AMY WINEHOUSE HAS REALLY SURPRISED US WITH HER FIRST VENTURE INTO FASHION. A collaboration with British designer Fred Perry has proved to be far better than expected, with Winehouse looking unusually healthy and radiant. She models various looks from the 17-piece collection, which includes both clothing and accessories. Preppy Polo shirts, a jumper dress, pencil skirts and bowling shirtdress feature in the 1950s Grease-inspired range. With Mad Men mania dominating this season, Amy’s 50s look is pretty much on trend, but for some reason we can’t really see the wild singer baking roast meals and attending polo matches any time soon. If any of these items tickle your fancy, head to for online purchase.


Sportsgirl Pipa bind dress ~ $99.95.

Lyle & Scott check short sleeve shirt ~ $125.

Tight Tigers’ Livia’s Tiger ~ $240.

Keds Champion Solid womens’ sneakers ~ $49.95.

Dragon Alliance Wormser Tang sunglasses ~ $129.95.

Designs By Natalia orange resin bangles ~ $130 for set. 60 0

Etnies Brigade sneakers ~ $74.96.




Blow Your Load Okay, so this will set you back more than you’ve budgeted b for your entire family’s Xmas shopping - but hey, it’s summer soon and loud music is the season’s soundtrack. This Brionvega - RR226 radio-phonograph is something special and was initially manufactured in 1965. Designed by brothers Achille and Pier Giacomo Castiglioni, it was considered a transformational design in hi-fi equipment. Orig Originally working in architecture, the brothers’ product design work is now no exhibited in NY’s MoMA. No wonder it still looks good. The reissued m model is “loyal to the original in its details” but has been tweaked for 21st 2 century usage. But you just might need to renovate your entire apa apartment around it… if you haven’t already maxxed the cards purchasing pu it. ~ $AU8,529.

Mel B


Ghost & Lola’s Beauty Queen necklace

Katzi’s Doctor bag ~ $294.

Urban, confident, creative and free-spirited - Damselfly jewellery by Melbourne designer Christianna Heideman continues to produce inspiring and innovative new collections. From Whimsical and girly to tough and edgy, Damsefly’s range has something for each of your multiple personalities. I Hate Myself For Loving You - the latest collection, features leather, chains, feathers and antique silver-plated metals. Prepare to be dazzled. View the collection at

FINDERS KEEPERS The Finders Keepers Market is a bi-annual event that showcases the work of emerging designers and artists from all around Australia and New Zealand. Aimed at promoting upcoming independent designers and artist from various creative fields, Finders Keepers Markets feature jewellery designs, fashion, toys, homewares as well as live independent music. Best of all, entry is free. Next market will be at The Old Museum (Brisbane) Saturday 6 - Sunday 7 November, then Carriage Works (Sydney) Friday 3rd - Saturday 4th December. See for details.

LACHAPELLE Famed fashion photographer David Lachapelle was in Australia last week to promote Nokia’s launch of the N8. Lachapelle who has snapped the likes of Lady Gaga, Britney Spears and Kylie Minogue, spent time in Sydney and Melbourne taking snaps of city dwellers. Images can now be viewed at


Former ‘Scary’ Spice Girl turned reality TV star Mel B looking incredibly elegant (minus the trademark fro) at Flemington Racecourse for Derby Day in Melbourne. Nice to see cargo pants, crop tops and platforms are long gone. d info to lure@3dwo Wanna get laid? Send products and



Emo singer/actress Taylor Momsen flashing her chest to audiences while performing with her band The Pretty Reckless in New York last week. Wrong for so many reasons but mainly because she is only 17. Less is never more.




Significant contributions to mathematics and Fractal Geometry, as well as single-handedly spawning the fractal visualisations favoured by hippies and space cadets at doofs and outdoor parties worldwide.


Extended understanding of fractals and Chaos Theory by an exceptional measure, and provided inspiration and the mathematics to generate mind-boggling eye-candy for countless acid trips.


Unintentionally set a very low bar for psy-trance and Doof VJs to rely on endless fractal visuals for the rest of time.


“Being a language, mathematics may be used not only to inform but also, among other things, to seduce.”


Published in 1982, The Fractal Geometry Of Nature brought complex mathematics to a greater audience through groundbreaking visualisation techniques.

FROM? France/USA.


KNOWN FOR? Being a tripper.


Conducted pioneering work on the spiritual, medical and therapeutic potential of psychedelic drugs – generally by eating them in vast quantities.


Regarded as an antagonistic media whore by psychedelic community peers including author Hunter S Thompson and LSD cook Owsley Stanley.


“Turn on, tune in, drop out.”


Flashbacks – an incredible autobiography with a great foreword written by postmodernist and Naked Lunch author William S Burroughs.

FROM? USA/outer space.



Primarily known as the widow of former Beatle John Lennon, Ono was an acclaimed artist and activist prior to falling under the shadow of her famous counterpart.


Ono has a surprisingly broad and vivid career in creating challenging modern art installations and works, pushing the boundaries of the psychedelic art movement to new extremes, and new absurdities.


Have you heard her sing?


“Artists are going to be the metronome of this society.”


Give Peace A Chance was the fi rst credited release by the Plastic Ono Band, and quickly became the soundtrack to the peace movement. While technically a Lennon composition, the song was a product of the couple’s band and their infamous Bed-In peace rally.






Are you thinking of hiring quality musicians that bring an audience ? Do you have a function/event and considering live entertainment ? For a limited period, we are offering a Venue Promotions Package featuring favourite entertainers. If it is about raising your venue profile or just great entertainment you want, contact us now. Chris 0419 272 196 http://infovisionproductions. iFlogID: 5076

ASIAN DJ’s and promoters wanted for new Asian Dance Party events. Once a month at Level 1 Chatswood. Contact Peter K @ the Chatswood Club on 9419 5481 iFlogID: 6883 Resident DJ’s WANTED Nth Shore Venue. Level 1 Chatswood, a new venue on the North Shore. Resident nights are up for grabs. Call Peter K @ the Chatswood Club on 9419 5481. iFlogID: 6881

FOR SALE PA EQUIPMENT ROSS PC110 POWERED MIXER 100watt rms. 4 channell with EQ/REVERB. stereo CD input. CUBE STYLE. Very good condition. $300.00 Ph Jimbo on 0428744963. iFlogID: 5837

MUSIC SERVICES BOOKING AGENTS SYDNEY’S PREMIER DJS Do you want to book some of Australia’s finest DJs? Our agency supplies the most experienced & popular DJs for festivals, clubs, bars & corporate events. We can set up a roster of stellar DJs for your club or offer you the very best in DJs, or the hugely popular DJ based bands, for your event. Contact us today at or visit iFlogID: 5847

RAPPERS / MC’S / HIP HOPPERS Stately Manor Productions – Sydney’s newest Hip-Hop Production House are offering MC’s, Rappers and Hip Hop Artists recording, custom beats, songwriting, production, mixing and mastering to release quality at affordable prices. for details. iFlogID: 4510

HIRE SERVICES Cheap competitive hire rates for lighting, audio, staging and vision systems. Small and large. Will customize for any event to suit your needs and price range. Give us a call on 0432 714 863, or online at iFlogID: 7401

MUSIC PUBLICITY AND MARKETING Promoting a CD? Want to let fans know about your gigs? Take your band to the next level with our competitive rates for your marketing and publicity needs. We strive to bring our artists to as wide an audience as possible conducting a broad media campaign which encompasses national print media and online promotion and an artist administration area allowing access to realtime 24/7 campaign results. We can also look after your paid advertising, sourcing some of the most competitive pricing. Contact 0402257148 or www. iFlogID: 5801

PA and lighting hire for your party, band nights (full mixer with operator), discos, fetes, and any other events! We do events all over Sydney, not just the Hawkesbury! 600W-3000W Systems. Email at iFlogID: 7389

PA SYSTEMS, LIGHTS , STAGES We have the gear and have the people. From small to BIG - give me a call for a quote - PA SYSTEMS from $110 - CALL MATT on 0424 399 801 iFlogID: 5236

PA/OPERATOR FOR HIRE For as low as $100, you get a PA system with a sound mixer, complete with a human operator as well to set it up for you for the evening. You can play your own music through it, sing, talk, do a disco, small function, etc, etc, etc. Contact Chris 0419 272 196. iFlogID: 3721

MANAGEMENT Manager wanted for Hip Hop RnB Artist. Contact Jhal on 0421 557 587 or email iFlogID: 7089 MINSTREL MANAGEMENT Connecting acts with Australia’s leading industry professionals. Recording Mastering Photoshoot Timed release stratergies Direct to fan marketing Solicitation to industry & media licensing & sync film clips social networking practices launch shows with promo 4 industry packages avaiable. iFlogID: 7192

MASTERING BENCHMARK MASTERING Professional Mastering from $110 per track in Australia’s most prolific mastering suites. We have the dedication and experience to make your music come alive using the world’s best equipment. Located in the heart of Sydney’s CBD. Conditions apply email:info@ Ph:(02) 9211 3017 iFlogID: 6217

DOMC MASTERING - $95 PER TRACK Domc Mastering is a dedicated mastering suite located just outside of Brisbane. We specialise in getting your next audio project ready for the public. DOMC work with you to get you the ‘sound’ that you are chasing. iFlogID: 5710 I’m looking for someone passionate about dance music to assist with the mixing and mastering stages of music production. Please email for details or 0439 457 791. Ta, Jeff. iFlogID: 7190

LEGAL for a quote. iFlogID: 6533


DETAX GOT ME A GREAT REFUND! Detax will maximise your tax refund or minimise your tax liability, by applying years of Entertainment & Arts industry tax knowledge & personal industry experience into each and every tax return. Individual Tax Returns from only $99. Discounted rates available for multiple years. Phone Dave Elliott 0434 979 269 or email iFlogID: 8597

OTHER MARKETING AND PROMOTION A rockin’ salute from the Team at Clk Click Publicity! Clk Click Publicity is a music and entertainment publicity company that specialises in providing excellent quality management, marketing and PR services in order to promote music, film, arts and events in Australia. We have an introductory offer that will blow your mind, and keep your pockets full! For a limited time Clk Click Publicity can whip you up a professional Bio and Press Release for only $100. We can also organise band photos and logo creation for a very reasonable price. If you’re interested in finding out about our full range of publicity services, we’d love the opportunity to have a chat with you and put together a proposal for your next release, event or tour. For further information please shoot us an email at or visit our website at We look forward to working with you! iFlogID: 5312

PA / AUDIO / ENGINEERING HEARTICAL SOUND SYSTEM HIRE From small PA to large high powered rigs. Crystal clear custom built mids and tops cabs with heavy duty bass bins. Suitable for indoor and outdoor events. delivered, set up and operated. Call Derek for quotes on 0423979396 iFlogID: 5135

PA SYSTEM 3200W FOH FROM $300 Band PA system for hire. 3200w FOH, 2 x 2x15 cabs with subs, 1350w FB, 4 wedges on 2 sends, 16 input desk, FX, mikes/ stands,DIs, icolor lighting. Experienced operator, many satisfied clients. From $300 p/night. Best value for money. Chris 0432 513 479 iFlogID: 5402

PHOTOGRAPHY SETLIST PHOTOGRAPHY Sydney’s Live Music Photography specialist with over 5 years experience in the industry. Artists include Moby, Groove Armada and festivals such as Soundwave, Good Vibrations plus many more. Cheap and affordable for local artists. Go to or email

Professional illustrator available for any project. Book covers, children’s books, album art and much more. Based in Melbourne, drawing world wide! Excellent rates. -Phone: 0403 996 129 or email iFlogID: 4701

REHEARSAL ROOMS PRIVATE REHEARSAL STUDIO AVAIL Your own private rehearsal room inside CBD recording facility. Hours of access: 7pm - 12pm Mon - Fri 7pm - 3am Weekends - Equipment can be left set up in the room, giving you free storage and time saved on setups. - wall length mirrors - Great for bands leading up to recordings or major tours. - Can be shared between 2 bands quite comfortably. - Security building - Shared bathroom & tea room facilities - walking distance from Central Station (approx 100m) - City views, great vibe - Great recorded rehearsal & demo rates for rehearsal bands at the brain. $450/week min 4 weeks or $400/ week 3 month commitment (works out @ less than $65/rehearsal and includes storage) This space would also comfortably fit 4 workstations with room to spare, so we would consider applications for creative/ music related office use. contact: 0431337488 iFlogID: 6367

TUITION APPLE CERTIFIED LOGIC TRAINER Logic studio training now enrolling. Are you a DJ,musician,songwriter or composer.Fully customised courses for your individual needs,now available. 1,Logic for DJ’s 2,Logic for Beginners 3,Intermediate Logic Techniques 4,Advanced Logic Techniques.I am a Logic Pro User and Apple Certified Logic Pro 9 Trainer with over 17 years experience.Courses are enrolling NOW.Song Surgery “making music technology,simple”. One on One tuition is also provided. Reasonable Rates Call 8212 4522 iFlogID: 7467


PRODUCTION/MIXING TUITIONS I’m a professional Music Producer and Sound Mixer who has worked with internationally renowned artist such as Seal and De La Soul, and I’m offering private tuition in Mixing and Production. Bring your own session (Logic or Protools) or use one of mine, and I will show the tricks that they do not teach you at school, I work from my home setup (Surry Hills) only, $65 per hour. iFlogID: 4776





VIDEO / PRODUCTION MUSIC VIDEOS Bands who have recently made videos with us include El Duende, Line Drawings and Grace Before Meals. Get your band on Rage and Youtube, or make a video for your myspace page. Fantastic concepts and slick production that wont break your budget. See examples of our videos on facebook. com/dynamic.screen.content Call Darrin on 0413555857 (we’re based in Sydney) iFlogID: 6681

MUSICIANS WANTED DJ Calling all DJ’s, new venue North Shore LEVEL 1 above the Chatswood Club requires resident DJ’s for a variety of nights. Give Peter K a call on 9419 5481 for expressions of interest. iFlogID: 7054 DJ Wanted to play live with RNB Hip Hop Band with Management & Agency Backing please email full contact details and also a bit of details about yourself to info@ iFlogID: 7134

KEYBOARD COVERBAND REQUIRE KEYS Sydney based, agent backed coverband requires a keyboardist. Must have good gear, own transport able to gig most fri / sat nights. We play mostly modern covers and are after ages 18 - 35. Please send your details to iFlogID: 5905

Visit our website for an extensive price list and other services! iFlogID: 4554 check out our for awesom e vintage fashion,stuff you can buy, music,film and art! iFlogID: 7032

COMEDY FOR LUNCH IN THE CBD Comedy For Lunch dates starting Sept 17th. Here’s your chance to spice up the regular CBD friday lunch with some tasty food and yummy laughs. Lunch starts at 12noon-12:35, show starts 12:35-1:10pm. We’ve lined up some very funny comic chefs to tantalise your tickle taste-buds. Plus if someone from the office is a jokester, he or she can have 3 minutes on stage to keep up the tradition :-).So gather up the gang from the office, family, friends and out of town guest and book into Comedy For Lunch. Lunch price includes choice of 6 mains, a Drink (Beer, Wine, House spirits, Juice, soft drink) and V.I.P seating in the worlds most comfortable comedy theatre, “The Star Bar Theatre” 600 George Street (formerley Planet Hollywood) or if the only serving you want is laughs, regular admission is just $10.00 for the show only! Booking now at 0295472578 or on line at www. iFlogID: 6440

COMEDY FOR LUNCH STARTS SOON! The People who bring you Comedy Court stand up competitions featuring audience Digital voting (Fri nites) and Quick...Some Comedy Quick stand up shows (Sat nites) present the CBD’s only live Stand up comedy lunch show. One price gets you your choice of 6 mains and some spicy laughs. Held every Friday 12noon at Star bar Theater 600 George Street Sydney. Get your office mates, friends, tourist and your boss together for lunch with a twist. Book now at 95472578 or Starts Sept 17th. Limited seating per show iFlogID: 5985


Event Managment service,Promotions and Production. Specialising in the arts. Fashion shows, exhibitions,gig’s & album launch parties. We also offer entertainment such as dance, models, performance and live music. Please email chicpetiteevents@ iFlogID: 6719



FULL COLOUR POSTERS Visit our website for an extensive price list and other services! iFlogID: 6348

MUSICIAN & BAND WEBSITES Create your presence online and get noticed. Sydney based web designers are here to help you create and design your website with ease. We specialise in building websites that work. When you hire us to design your website we’ll give you a product that looks great and that actually works for your business or service. Packages start from $400 Call Richard or Kelly on 0424 125 169 iFlogID: 6665

T-shirts, Hoodies, Caps, Polos, Screen Printing, Direct 2 Garment, Transfers Embroidery, Artwork Design,0415 139 056 iFlogID: 6027

ICE CREAM FACTORY PHOTO STUDIO Inexpensive photo/video studios for hire from $150. Located at Turrella (10 mins drive from Newtown) iFlogID: 4768

For a limited time. Free online andprint classifieds Book now, visit



3D World - Melbourne Issue #1035  

3D World has been serving the electronic dance music and hip hop community of Sydney and surrounding areas since 1989, recently racking up 1...

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